Picture: Nicola Young
Roll Over Beethoven continues at the Belgrade Theatre, Coventry until 17 September.
Star rating: four stars ★ ★ ★ ★ ✩
I never cease to be amazed at the versatility and deftness of performers who play a lead spoken role, sing brilliantly, and then effortlessly revert to an instrument, providing elegant backing to their companions.
Arguably nothing is more impressive in this superbly well-honed Belgrade production of a vibrant show premiered, to some acclaim, just a year ago at the Queen’s Theatre, Hornchurch in East London.
Coventry has produced a cast of infinite cleverness and imagination, with the musical punch and precision on a dozen immaculately strummed instruments to conjure up the explosive spirit and dazzling flair of the 1950s rock and skiffle revolution.
Beethoven certainly rolls: half a dozen catchier numbers make artful use of his music, including ‘Für Elise’, the ‘Moonlight Sonata’, the last piano concerto (cleverly parodied), the tell-tale Symphony No. 5, and two different versions of the ‘Ode to Joy’ (the first softly in the background, the second in joyous full blast for the rip-roaring finale). All credit to Steven Markwick for perfect musical preparation that never ceases to lend fire to one number after another (with Ben Goddard’s excellent arrangements).
Do those cast roles look familiar? Director/writer Bob Eaton has served up an entertaining text that intermittently pirates Shakespeare’s Hamlet (Claud = Claudius, Gertie = Gertrude) to produce quite a clever spoof, more comic than tragic, which by witty allusion and cheerful parody forms a kind of melange with those unbuttoned, let-your-hair-down rock numbers to create a highly appealing show.
Michael Fletcher’s resonantly sung Johnny Hamlet (‘Ludwig van B’) is one of many desirable voices (Niall Kerrigan’s Teddy Boy is another) – every one of these cast members has a memorable or arresting voice, and Charlie Brown’s sound design keeps the levels just perfect so that words are all audible and the levels and balances never overpowered.
Yet the laurels surely go to lead guitarist Matthew Devitt, whose ever-present Ghost (Hamlet’s dead father), lead guitar playing – fabulous rhythmic precision – and a range of well-observed waiters and extras can not be faulted.
But all the others rank high too: Gert and Ophelia on a well-matched pair of animated saxophones; Adam Langstaff’s subtle drumming; Kerrigan’s eloquent banjo. Together, equally at ease in rock, skiffle and what the programme dubs ‘a tsunami’ of 1950s musical and cultural outpouring, they offer a show of rip-roaring nostalgia and obvious quality.
Patrick Connellan’s designs, fronted by an evocation of a garish 1950s music hall, serve well, as do some Christian Dior-inspired costumes.
Especially early on, Arnim Friess’ video backdrop produces many arresting touches (Elsinore club, seaside resort), adding much atmosphere. There are perhaps too many straight-lined blocks frontstage, and accents are all a bit similar. Song titles are omitted from the programme, but number after catchy number, they wow this audience. So no complaints.
Roderic Dunnett
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