Time to hit the road to Highgate to catch this rare Sondheim revival
Based on a true – and truly American – story of aspiration, ambition and brotherly rivalry over decades, this Stephen Sondheim musical makes a return to London. Alongside collaborator and book writer John Weidman, the US composer has worked on factual musicals before, including Pacific Overtures and Assassins – both concerned with American history on a larger scale (The States' relationship with Japan and those who made attempts on the lives of US Presidents).
Road Show is an apt metaphor for the story of the Mizner brothers, Wilson and Addison, and their longing to live the 'American Dream’, from the turn-of-the-century Klondike gold rush to the turbulent reverses of fortune following the 1930s Florida real-estate frenzy.
Thanks to the vision of the creative team, the storytelling works a treat on the tiny stage Upstairs at the Gatehouse, an intimate theatre above a pub. Director and choreographer Amanda Noar and set designer Ruby Boswell-Green make a virtue of thinking vertically and horizontally with judicious use of every corner, effectively lit by Simon Jackson, with the late 19th and early 20th centuries evoked by Holly Louise Chapman’s gorgeous, versatile costumes.
Musical director Harry Style (on keys) joins Katie Wood on reeds, Hannah Garry on violin and Chris Davis on drums to make a huge sound that effectively fills the space. Their set features 16 little-known Sondheim songs, revealing conversational duets and even patter songs, all with engaging lyrics. 'Gold!' a number for the full company, lauding the opportunities to get rich quick thanks to the gold rush, is a superb example.
A cast of just eight sing, dance and act their way through this family story, which includes Mama and Papa Mizner (Katherine Strohmaier and Robert Finlayson), living through and looking back at attempts to mediate and soothe the often contentious fraternal relationship between their boys.
Reece Richardson is actually scary, as younger brother Wilson, hyped up on drugs that enhance his overbearing personality and enable him to steamroll his older brother, apparently hesitant and tentative, labouring under Wilson's shadow. Oliver Sidney's Addison gets the sympathy vote, then later, once you've made up your mind about him being a bit drippy, the aspiring architect finds his niche, mojo and love with Hollis Bessemer, a gentle yet passionate young man in Rhys Lambert’s empathetic characterisation.
The standout moment is the brilliantly executed brainwave of representing Addison’s smart, desirable Florida homes as dolls' houses that become part of the choreography as well as the scene thanks to Boswell-Green and Noar and some nifty wielding by the cast on the upper stage platform. The ensemble of Madeline Morgan, Emily Friberg and Folarin Akinmade work well together to lift not just the houses but the whole show. Akinmade has one of those smiles that lights up the room, an added delight of this revival, which does such justice to what has been regarded by some as Sondheim’s problem show. I predict the problem could be getting tickets for this all too short seasonal run.
By Judi Herman
Photos by Annlouise Butt
Road Show runs until Sunday 12 January. 7.30pm, 3pm (Sat only), 4pm (Sun only). £26, £24 concs. Upstairs at the Gatehouse, N6 4BD. upstairsatthegatehouse.com