There will be a certain generation of theatre goer seasoned enough to remember one of the first teen idols to capture the hearts and imaginations of the UK back in the 1950’s and 60’s – Mr Tommy Steele. I have to confess I’m not one of them. However, I am aware that the original musical Half A Sixpence, upon which Kipps is based, was conceived as a vehicle to show off the talents of said Mr Steele. He appeared in the show in the West End, on Broadway and most famously, on film. He sang and danced his way through twelve of the fifteen numbers and research informs me that reviewers of the day suggested that the show was shmaltzy and saccharine – just what everybody needed! It was a huge hit. I’ve never seen it, so this performance of Kipps by Carlton Operatic Society will serve as my induction.
This relatively recently updated version of the musical, no longer featuring Tommy Steele (now 87 – imagine!), but still very much promising to feature all the toe tapping numbers he brought to life is based on the semi-autobiographical 1905 novel Kipps by HG Wells. It tells the story of young Arthur ‘Artie’ Kipps, an orphan boy turned drapery apprentice whose life is dramatically turned upside down by the inheritance of a small fortune. He finds himself suddenly popular among the higher echelons of society and discovers that he has some difficult decisions to make about who and what is important to him and how he wants his life to look.
The music is by George Stiles and David Heneker with lyrics by Heneker and Anthony Drewe. The piece was updated for the twenty-first century by none other than Julian Fellowes (he of ‘Downton Abbey’ fame). If anybody can tell a yarn about the upstairs/downstairs battle of the classes it is Mr Fellowes. As I take my seat in the theatre I’m intrigued to see how this one plays out.
Arthur ‘Artie’ Kipps is energetically brought to life for us here by Lu Anthony. Anthony is quite simply stunning in the role, investing Kipps with a cheeky smile and loveable disposition. Barely off stage all evening, they do a superb job of depicting the rags to riches rollercoaster ride and we really do sense the heartbreak of the decisions that need to be made along the way. Anthony’s rendition of Half a Sixpence is wonderful and there is a tap dance routine to accompany If The Rain’s Got To Fall which is nothing short of breathtaking. This Artie Kipps is an example of pitch perfect casting – clearly a labour of love, served up with oodles of charm. Performance perfection.
Kipps’ childhood sweetheart Ann Pornick is played by Sarah Thompson who gives Ann a feisty edge whilst losing nothing of the sweet and loyal character on the page. She has an exceptional emotional range and a stunning voice – we really feel for her when she’s overlooked for Helen Walsingham (Lizzie Fenner). Fenner in turn gives Helen an elegance and alluring sophistication. The chemistry between the three characters in this love triangle is magnificent.
Helen’s parents James (James Ellison) and Mrs Walsingham (Lindsey Jaycock) have aspirations of grandeur and principally want to get their hands on Kipps’ new-found fortune. These two have some wonderful comedy moments not least of all during Pick Out A Simple Tune – one of those amazing set pieces that evolves into a joyous ensemble singalong that old school musicals such as this do best.
Also out to exploit poor Artie is the thrifty thespian Chitterlow (Dan Armstrong) who is looking for investment into his latest turkey of a play. Armstrong gives Chitterlow a lavish largesse that is particularly associated with that type of actor-manager of the past leaving us in no doubt whatsoever that he is a grand luvvie and shrewd charlatan alike. He leads the company in a superbly rousing rendition of The Joy of The Theatre which has a splendid swing to it.
There are some stand out performances from Kipps’ fellow apprentices too, especially Sid Pornick (Jonathan Jaycock) who is a towering figure with a deliciously dour energy and Buggins (George Young) who mainly thinks about food and in turn serves up each line with quite exquisite comedy timing.
These central characters are ably supported by an enthusiastic, talented and (oh my goodness) large ensemble. The dance numbers in this production are high energy and fun, transporting us back to the golden age of musicals. Kudos to Director/Choreographer Rachael Rees who has placed every performer to perfection creating a visually stunning piece. The live band (how wonderful!) under the direction of Christopher Rees ably accompany the performers and drive the show ever onward.
Kipps the Musical is good old-fashioned fun – perfect escapism – what a picture indeed! It oozes charm from every pore and will have you tapping your toes and whistling the melodies for days to come. So, what are you waiting for? Grab yourself some tickets. Catch it at the Theatre Royal Nottingham until Saturday 1st June 2024.
