“West end worthy moments! “
*** 3 Stars
Kiss Me Kate with music by the iconic Cole Porter and book by Bella and Samuel Spewack is approaching its 80th anniversary since its debut at the Shubert Theatre in Philadelphia prior to its Broadway opening at the New Century Theatre in December of 1948.
Written as Porters response to the success of Rodgers and Hammerstein’s Oklahoma! Kiss Me Kate is essentially a show within a show as we watch now divorced couple Fred Graham (a taught leading man performance from Ewan Robertson) and Lilli Vanessi (Nina Birbeck in fine bitchy form) trying to get along as they perform Shakespeare’s The Taming of the Shrew. Add to the mix a secondary love story and 1940’s gangsters we end up with a parable of Shakespeare’s finest comedy retooled for a more modern generation.
The inherent problem with Kiss Me Kate and the reason its not often performed by amateurs and pro’s alike is the writing hasn’t stood the test of time all that well, two generations have passed since its creation and its attitudes and mentality don’t stand up all that well to modern audiences combined with the fact the show runs at a shade over three hours it’s a challenge and them some. However, its one which director William Freebairn has taken to with gusto.
Freebairn has whipped his 19 strong ensemble company into a well drilled cohort even if some of the end results are uneven. Performances from the leads are excellent with both Robertson and Birbeck leading the company in accomplished style. The same is true of Elham Khosravipour and Dan J Bryant as Lois Lane and Calhoun respectively especially Bryant has a real talent for comedy characters. The company shine especially brightly when delivering Caitlin Visser and Lyss Britton co choreography. They push both the company and constraints of the church hill stage to it limits and deliver west end worthy moments especially in “Another Op’nin, Another Show” and “Too Darn Hot”
Speaking of “Too Darn Hot” whilst the choreography is sublime special credit goes to the gorgeous Aaron Venter as Paul who delivers the song with great skill and an impassioned performance. Sadly, it was let down spectacularly by the awful sound quality. Co Sound designed by Sam Burgess and Luke Hardwick. There were major sound issues throughout the performance with balance, clarity and feedback running riot. Some mic levels were set blisteringly loud others didn’t have enough volume. Sadly, for Venter his Microphone completely broke down and while he did the right thing and raised his game and projection the sound desk persisted in leaving his microphone live drowning him out spectacularly with popping and banging a plenty complete with roaring loud moments when the Mic did kick in sporadically. They would have been better in killing the mic and letting Venter deliver the sparkling number without the sound massacre he endured. To Aaron Venter’s credit he still delivered the number in style.
Sound aside the production elements deliver well with Lily Goodchild’s lighting design delivering an old school feel that benefits the show and Danby Lee and Charlie Smith set design also makes the best of the space available. Eloise Robertson’s costume design captures the era but would have benefited with more variation. The true cherry on the cake is musical director Emily Smith and her 15 strong pit band who are utterly sublime especially Percussionist Ethan James who is given free reign with his Jazz Skill.
The Footlights Kiss Me Kate has a fourth star in its grasp and delivers much for a show that’s very much from a by gone era but the audience cant help but be won over by the cast who give it there all and deliver an entertaining evening of musical theatre.
Edinburgh University Footlights presents Kiss Me Kate, Church Hill Theatre, Edinburgh runs until Saturday 14th February, for more information go to: Kiss Me, Kate – Tickets | Fienta
ScotsGay Arts 