The Marvelous Wonderettes – Upstairs at the Gatehouse

The Marvelous Wonderettes continues at Upstairs at the Gatehouse, London until 12 May 2019.

Written by Roger Bean, The Marvelous Wonderettes is a very basic musical revue of songs from the 1950s and 1960s. Although this period of music always inspires an enjoyable time and atmosphere, the attempt at combining all of the songs into this show leaves you wanting.

When you enter the theatre, the set automatically transports you to a 1950s high school prom with ribbon, pastel colours, and a giant moon. There is a live band positioned at the back of the stage, behind the set, and four old-fashioned microphones are placed perfectly atop a stage shaped like a cloud.

The four women enter the stage, The Marvelous Wonderettes, and kick the show off with flair, singing the classic ‘Mr Sandman’. It is clear from the start that each woman represents a stereotypical 1950s girl: the blonde flirt, the kooky tomboy, the perfect crafty leader, and the nerdy outsider. However, it becomes glaringly obvious the show severely lacks a plot of any substance. It is just a group of stereotypical women who, even ten years later in Act II, define their lives by men.

Despite the dated nature of the show, the voices of Rosie Needham (Cindy Lou), Kara Taylor Alberts (Suzy), Sophie Camble (Missy) and Louise Young (Betty Jean) are to be admired. Camble, who shines in the clever choreography, as well as Young carry the show with their commitment to their unique and quirky characters. However, Young’s character choices, despite her fantastic vocal performance of ‘Hold Me, Thrill Me, Kiss Me’, seemed disconnected and at times drop the energy of the show.

If you are after a simple, uncomplicated jukebox musical, Joseph Hodges’ production will suite your fancy. With a fantastic live band that never misses a beat, creative choreography from Iona Holland, and a design that truly takes you back, you will walk away ready to dance. However, if you are expecting a fully developed script that is supported by music of the era, Mamma Mia! style, this show truly lacks wonder of any kind.

Megan Lloyd-Jones