What’s New Pussycat? – Birmingham Rep

What’s New Pussycat at Birmingham Rep. Picture: Pamela Raith Photography

What’s New Pussycat? continues at Birmingham Repertory Theatre until 14 November 2021.

Star rating: five stars ★ ★ ★ ★ ★

Surely it was only a matter of time until a ‘jukebox’ musical featuring the back catalogue of Welsh singing superstar Tom Jones came along. And now it has, in the shape of the highly impressive What’s New Pussycat?

But this is no bio musical, in the vein of Tina: The Tina Turner Musical, or The Jersey Boys. Instead writer, Joe DiPietro has chosen to loosely meld these iconic tunes with the plot of Henry Fielding’s 18th century novel, The History of Tom Jones, A Foundling. And, if you, like me, were worried this might make for a somewhat dry and academic evening’s entertainment, then fear not. You don’t need to know the novel at all. It’s easy to follow, and, on the surface, a pretty conventional story of boy and girl falling in love, love thwarted, and a happy ending, albeit with a fresh, contemporary twist. And, above all, it’s a great night out.

The show starts in Somerset – maybe in the 18th century, not that it matters – with Tom (Dominic Andersen) being forced to leave his true love, Mary Western (Bronté Barbé) behind, and sent to London to prove himself ‘good and true’. In the capital he finds himself very much in the swinging 1960s, and the parallels with the singer Tom Jones become more apparent.

Our Tom has a great voice, but just doesn’t look the part, so a wily music impresario, Lady Bellaston (a delightful Kelly Price), takes him under her wing. Cue the musical number, ‘You Can Leave Your Hat On’, where, you’ve guessed it, Tom removes his old clothes, and puts on some much more suitable 60s threads. It’s one the show’s cleverest uses of the musical material at its disposal.

Indeed, I was impressed with how well the music fits the story. You get all the classic hits, such as ‘It’s Not Unusual’, ‘Mama Told Me Not to Come’, ‘Green Green Grass Of Home’, ‘Sexbomb’ and ‘Help Yourself’. But it’s ‘Delilah’ which steals the show: Tom is in prison at the mercy of some seriously crazy inmates, one of whom, Big Mikey (a superbly manic-eyed Lemuel Knights) launches into the tale of how Delilah did him wrong, so he murdered her, making full sense of the lyrics: “I felt the knife in my hand and she laughed no more.” This scene typifies a production that doesn’t try or push too hard, but weaves its magic naturally without things feeling forced.

I’m also pleased to report that some of the show’s lesser-known songs really stand up against the ‘big hitters’: for example, the soaring ballad, ‘Without Love’, delivered beautifully by Barbé, provides an emotional punch that catches you unawares. It’s another highlight in a production full of them.

Refreshingly this is a show that puts a more contemporary spin on gender roles and sexual politics. Many of the characters who are in control of what’s going on are female. It’s the afore-mentioned Lady Bellaston that chooses to advance Tom’s career (and she instigates sleeping with him, although he is a fully consenting participant in their bedroom antics).

In an engaging subplot, it’s The Girl in the Polka Dot Dress (a delightfully feisty performance from Rebekah Hinds) who, after what she initially decides is a one-night stand with Tom’s mate, Mr Partridge (an assured Ashley Campbell) is in charge of a burgeoning romance between them. At the end, when Mary takes Tom back and forgives his infidelity, it’s on her terms: she’s not giving up her successful career as a mini skirt designer on Carnaby Street for any man.

Director, Luke Sheppard, does a wonderful job keeping the show taut and pacy. It looks and sounds great too. The set (Jon Bausor) and costumes (Janet Bird) are first rate, and the choreography by Arlene Phillips is a joy to behold, capturing the essence of the 1960s perfectly.

It’s fantastically sung with a cast of exceptional voices, and I particularly enjoyed the orchestrations by Matthew Brind (who also acts as musical supervisor), especially in numbers like ‘I (Who Have Nothing)’. As Joe DiPietro says in the programme notes, Tom Jones’ songs are ‘so theatrical’, but the creative team has done a great job of not letting these highly dramatic songs overwhelm the show. The moments of light and shade, seriousness and levity are well pitched.

The 18-strong cast don’t put a foot wrong. Andersen and Barbé in the two lead roles are charismatic, likeable and have strong voices. And, as previously mentioned, Hinds as The Girl in Polka Dot Dress and Campbell as Mr Partridge have the audience in the palm of their hands whenever they are on stage.

What’s New Pussycat? plays Birmingham Rep until 14 November. I doubt very much that this will be the last we see of it. This joyous show is West End ready.

Jack Rolfe