Goodnight Mrs Calabash

*****

Jimmy “Schnozzola” Durante was a huge star in his day – pianist, comedian, no beauty but a great heart and a highly individual style with a tendency to invent extraordinary long words.

This new musical biography by English musician and writer Tony Day tells a fairly conventional showbiz story. But who cares when his music and lyrics are in the classic style of Kander & Ebb and Jerry Herman – the great musical maestros of the past century. Not only that but he had the great good sense to hand the property over to the Gatehouse Company and West End director Racky Plews to direct. She has done a wonderful job and there is some outstanding choreography by Lee Proud.

The art of the choreographer has become one of the most highly developed in the spate of brilliant musicals we are witnessing on the fringe, taking advantage of highly accomplished star players as well as the highly trained actor/singer/dancers who are currently exploding out of theatrical academies.

The play is excellently cast. Durante’s partners – dancer Lou Clayton and crooner Eddie Jackson – are played by David Muscat and Matt Palmer. Muscat reveals a tidy pair of heels and toes in a most effective tap routine, while Palmer has a perfect Sinatra-style voice.
Jenni Bowden has her own special charm and sings like an angel as Jimmy’s long-suffering and eventually doomed wife Jeanne. Playing Brooklyn Annie, the Durantes’ friend and mentor, there is the larger-than-life presence and personality of Rachel Ann Crane.

As for Tim Frost – he is already a showbiz legend – learning the role, choreography and songs in four days and giving a loveable and highly polished performance after the previous leading man disappeared on the opening night.
Adding to all this, there is a brilliant six-strong ensemble dancing up a storm.

The trend recently is to put on revivals of American musicals. Now, at last, we have something that is British and totally new from beginning to end.

Why we’re lucky to have Durante musical at the Gatehouse

This show has had bad luck, quite undeserving given the craft and care which comes with it.

Just before the curtain was due to go up on Good­night Mrs Calabash last week, the production’s Jimmy Durante disappeared.

Vanished. Struck by stage fright, it is presumed. Last spotted in Scotland.

That’s not great for a musical actually about Jimmy “Schnozzle” Durante, the comedy singer and entertaining all-rounder of the 1930s.

Early shows had to be plugged. But in this royal week of royal everything, they should be thinking about handing out some Queen’s honours up in Highgate Village.

Services to musical theatre should be served up to John and Katie Plews for running Upstairs At The Gate­house – and one big one for Racky, the director daughter who brings this new musical with an accomplishment which disguises her disco youth.

Even bringing in a new Durante (Tim Frost) late in the day has not wrecked the piece. The talk backstage is that it has actually improved it.

And Frost is certainly a smart Durante, capturing the sunny style in an entertainer who would regularly wisecrack about the size of his nose in between piano rolls.

Jimmy Durante fans be warned: this isn’t one Durante classic after another.

It’s not a tribute act. Instead, his life is told through new songs, but new songs which fit cosily enough into the past to make you think they were penned 70 or 80 years ago.

This is a good thing, and they come marinated in tap dance and jazz hands.

Although Frost is centre stage and the show’s saviour, there needs to be more than a passing mention for two others.

David Muscat as scheming sidekick Lou Clayton who, despite being a bigger gentleman than Frost, out-taps the cast, and Rachel Ann Crane as Brooklyn Annie, the wise mother hen who has a stand-out set piece with Think Beautiful.

In fine musical trad­ition there is a homespun message to take home on the bus: that you don’t have to have poster boy looks to be charming.

The Durante life story isn’t full of laughs and there are lessons to learn too about how we treat the ones we hold dear.

Racky Plews, a perfectionist who clocked Guys And Dolls on the same stage at Christmas, was taking notes in the back row.

There is a hope that from its false start it could actually transfer at the end of the run to a bigger stage with a bigger band.

It deserves better luck.

Nobody who sees it performed will not wish it well.

Goodnight Mrs Calabash tells the beautiful, heart-warming, funny and moving life story of the great Jimmy Durante (1893 – 1980), an American singer & comedian. Jimmy Durante is still remembered for ending his many radio and television programmes with the line “Goodnight, Mrs Calabash, wherever you are…’ and this story poignantly delves into its meaning. At Upstairs at the Gatehouse.

****

Goodnight Mrs Calabash, written by Tony Day, tells the beautiful life story of the great Jimmy Durante (1893 – 1980). Nicknamed Schnozzola because of his large nose, Durante was an eccentric and charming American singer, songwriter and comedian who rose to fame in the 1930s. Prior to his various film appearances, Durante started out at Diamond Tony’s Saloon in Coney Island as a honky-tonk pianist, before forming a trio with Lou Clayton and Eddie Jackson – THE THREE SAWDUST BUMS. This story follows the twists and turns of his successful career, the on/off and yet life-long friendships, and the highs and lows of his loving, yet challenged, marriage. Jimmy Durante is still remembered for ending his many radio and television programmes with the line “Goodnight, Mrs Calabash, wherever you are…’ and this story poignantly delves into its meaning.

This is a wonderful production; heart-warming, funny and moving. Racky Plews directs with an ear for the story’s humour as well as an understanding of its truth and poignancy. My only criticism is that the production takes a while to get going. Even though the show opens with a bang – “Poise’n’ Personality” is a cracking, upbeat opening number – the first half hour or so is quite slow. The energy lulls and there are a few moments where punch lines lack punch. This is perhaps due to the questionable humour of the script; but saying that, perhaps the writing is fitting to the period. Regardless, towards the second half of the first act, the pace picks up and suddenly… I’m hooked!

Lee Proud’s choreography is incredible, with the movement and dancing components throughout the piece accurately bring to life the syle of Durante’s era. The energy of the performers combined with Proud’s vision is, in some instances, actually breath-taking. The tap dancing numbers are slick and smooth, the jazz numbers are saucy and sassy, and the ballads are beautifully elegant. Your feet will tap while your eyes enjoy the razzle-dazzle.

The singing ability of the cast cannot be disputed – as an ensemble, they sing in perfect harmony and the choral vocals are well balanced. There are a few issues with the sound, which will have to be ironed out over the run, but centrally nobody tries to ‘out-sing’ anyone. The soloists not only capture a sense of dramatic truth in the musical numbers, but the vocal range and tone of each singer is also outstandingly good. “The Beginning of the End” is a fantastic song, touchingly performed by Matt Palmer as Ed Jackson. The combination of music and Jackson’s angelic voice contributed to a serious case of chicken arms (that is to say, I got a lot of goosebumps). Jeanne’s (Jenni Bowden) “Jimmy”, is superbly and sensitively sung, and her performance sent tears streaming down my face. And on the other side of the scale, “Men!”, a witty number by double act Jeanne and Brooklyn (Rachel Ann Crane), which shows the pair getting increasingly drunk as the number progresses, had me and the rest of the audience in fits of giggles.

As a whole, the show’s production values are strong. The adaptable set is functional and through a simple shuffle of three purpose-built frames, we can imagine a range of settings; everything from a stage, to a dressing room, to a packed train. Costume designer, Kingsley Hall, has embraced the style of the 1920s through to the early 1940s, creating striking designs that are eye-catching and contributing to a belief that the era is within reach.

Considering this is a jazz musical, I was pleasantly surprised by the non-existent over-acting, one-dimensional caricatures and ‘stage school’-esk jazz hands, which is sadly what I’ve come to expect. Usually, actors who exude an undeniable talent for singing and dancing often lack an equally matched acting ability, but not in this case. The strong cast breathe truth into the script and the majority embody convincing and well developed characters. Bowden particularly stands out as the beautiful yet increasingly bitter Jeannie, and Tim Frost does a convincing take on Durante, with the pair’s onstage chemistry so convincing that I’m led to question whether Bowden and Frost are a real life couple.

Day handles Durante’s biography with respect and dignity. Despite the disappointing first few scenes, I loved this production and it was a great night out. The story touched my heart (I cried like a baby), offered an enlightened view on the era, and I was thoroughly entertained – what more do you need?

***

Inspired by the life and times of US singer, pianist, actor and comedian Jimmy Durante this new musical by Tony Day gets top marks for blood, sweat and tears. With little room for dialogue in between all the singing – there are 39 songs in total – and dancing, including some impressive tap routines, it’s a wonder the performers don’t drop dead by the end.

The title is a reference to Durante’s trademark signoff at the end of his radio shows, which for many years the meaning of which he kept locked in secrecy. Durante later admitted that he was addressing his first wife Jeanne Olsen who passed away in 1943, affectionately performed here by Jenni Bowden. Sadly Tony Day’s own wife Marti passed away just a week before Goodnight Mrs Calabash was due to open, and a tribute is published in the programme.

Not only is the musical a laudable tribute to Durante but director Racky Plews’ use of space is quite ingenious, aided by a cast of 11 who don’t put a foot wrong as they spin and leap about the stage. But while an attractive ensemble provides plenty to look at the performances frequently engage more than the plot.

The ugliness of Durante is a frequent reference but Tim Frost, whose delivery of malapropisms are spot on, is actually rather a looker. Nevertheless the charm of Brooklyn Annie (Rachel Ann Crane), Lou Clayton (David Muscat) and Ed Jackson (Matt Palmer) help to give the storyline more depth even though their parts are somewhat patchy. Brooklyn Annie’s role is very pronounced in the first half but much less so in the second.

But it’s certainly refreshing to have the opportunity to witness a musical in all its splendour on an intimate stage above a pub. Good effort.

A TOUCH OF FROST SAVES GATEHOUSE SHOW

Ovation have confirmed that the opening of their new Musical Goodnight Mrs Calabash, based on the life of American entertainer Jimmy Durante, has now been re-scheduled and previews will begin on Saturday 26th May.

The curtain was due to rise last week. However, Ovation were forced to postpone the opening of the show due to the sudden departure, for personal reasons, of the actor playing Jimmy Durante.

In the great show biz tradition of ‘saving the show’, actor Tim Frost has put his life on hold and come to the rescue. At short notice, Tim, star of Ovation’s critically acclaimed Play It Again Sam, returns to the Gatehouse to take on the challenging and demanding lead role with a goal of opening the show with just four days of rehearsal ready for a preview on Saturday 26th May.

For author Tony Day, who has spent over twenty years writing and developing the show, the last month has proved to be a very difficult time. Two weeks after rehearsals had started, Tony’s wife died in her sleep. She was an incredible inspiration for him and a driving force behind urging Tony to get the project off the ground.

Everybody at the Gatehouse has committed their time and effort to ensure that Tony’s work is performed and the whole production team have rallied round for the emergency rehearsals.

Ovation and the ‘Upstairs’ team would like to thank all those theatre-goers for their patience with the delay – we believe it will be worth the wait and that in the words of Jimmy himself:

“This is the moment we’ve all been waiting for”

Rating: 4.5 out of 5

Tony Day’s premier Good night Mrs. Calabsh is a highly entertaining musical set in 1920s- 1930s America. He managed to re – create a story he came across during his research for a musical. This is based on the life of Jimmy Durante (1893- 1980), nicknamed Schnozzola for his large nose, a charismatic honky – tonk pianist that had grander ambitions and succeeded. Together with his two other show biz partners he formed a trio. It is also the story of his love affair with his wife – Jeanne, that has a tragic ending.

Upstairs at the Gatehouse managed to use the small stage as in a West end theatre to dazzle the audience. The razmataz of New York glamour captures the audience as does the dancing, which will pleasantly surprise you. The characters stand out as the cast deliver superbly. Tim Frost, who is fondly remembered for acting the part of Woody Allen in Play it Again Sam at the Gatehouse, impressively plays the lead as Jimmy Durante (he had a week only to rehearse for this ) Another character is Brooklyn, the devoted friend, who is not to be reckoned with !

All in all, a delightful show. Highly recommended local entertainment, West End style minus the headache of schlepping to the West end (that’s if you live in suburbia of north west London, of course).

A great night out.

Go see it !

“Durante biog great musical theatre”

*****

Jimmy Durante was a huge star in his day, pianist, comedian with an individual appearance and a quirky way with words. Nowadays he is mostly known for the romantic soundtrack of Sleepless in Seattle.

This musical biography by Tony Day tells a fairly conventional show biz story but who cares when his music and lyrics are in the classic style of Kander & Ebb and Jerry Herman – the great musical maestros of the past century. Not only that but he had the great good sense to hand the property over to the Plews family to produce and Racky Plews to direct. She has done a wonderful job as has her favourite choreographer Lee Proud. It seems that the art of the choreographer has become one of the most highly developed in the spate of brilliant musicals we are witnessing on the fringe, taking advantage of the highly trained actor/singer/dancers that are currently exploding out of theatrical academies.

It is no longer a case of singers, dancers and actors – now such is the versatilities of these young people that the old boundaries are non existentent and everyone has to be adept at everything.

A case in point is David Muscat – Big Julie in Guys and dolls – who is playing the dancer, Lou Clayton, and showing a brisk and tidy pair of heels and toes in a most effective tap routine; Jenni Bowden who sings beautifully as the female lead, Jimmy’s wife, is a theatre dance graduate and Matt Palmer who is the crooner, Ed Jackson, has a beautiful singing voice and hoofs along with the rest.

As for Tim Frost – he will become a show biz legend – taking over the leading role of Jimmy Durante four days before the opening – having had no connection with the show beforehand so having to learn everything from scratch. In this tremendous show, there is also the tremendous presence and personality of Rachel Ann Crane as Brooklyn – the Durantes’ friend and mentor.

Adding to all this there is a brilliant six strong ensemble dancing up a storm.

What a show- what a cast – what a creative team. Fantabulatious!!!!