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Michael Cox reviews a production that's enjoyable but disappointing.
All the signs are there for Tipping the Velvet’s triumph. It's based on a well-regarded novel filled with rich characters, interesting themes and delicious twists. As for the production itself, it is well directed and designed, has fun musical numbers and contains a great ensemble led by two of the best lead performances of the year.
So why then is the experience a lukewarm one?
This might be down to Laura Wade’s adaptation. There's nothing particularly wrong with the script: the plot moves at a brisk pace and is peopled with a collection of interesting characters. However, barely a moment exists that has much depth plumbed—it all feels like it's driving to the next moment rather than spending time on the current one, meaning we get the gist without emotionally connecting much and meet characters who seem important but end up being cameos. The choice of using modern songs also comes across more as a joke rather than a theatrical relish, resulting in most numbers acting merely as a ‘nudge nudge, wink wink’ to the audience.
There's still much to be enjoyed. The song choices might be questionable, but they are well executed. Director Lyndsey Turner manages to create a visually interesting tapestry that works far more than it doesn't. And at a running time of nearly three hours, it is never boring.
The saving grace is found in its two leads. David Cardy has a ball as the Chairman, acting as narrator, stage manager and Greek chorus. His energy drives the production, and his constant dialogue with the audience makes everyone into co-conspirators in the events that unfold. He makes the role work, even if structurally it's more of a device.
But the story is all about lead character Nancy, who goes from working-class vaudeville fan to political mouthpiece via detours through the London stage and sex trade. Making her professional debut, Sally Messham is terrific. She is asked to do much: sing, dance, mime, perform aerial work; that she manages to do it all with aplomb is impressive in and of itself. But with all of the whizz-bang theatrics, it is the infrequent quiet scenes when Messham is allowed to invest in the moment that work best.
All of this results in a production that is enjoyable. But with all of the talent involved, good enough isn't…well, good enough.
Performs at the Lyceum until November 14.
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