Ever sat and wondered just how to succeed in snapping up a ticket to a truly fabulous musical in London? The answer is right in front of you, and is currently thriving at Southwark Playhouse!
Revived for the first time in London since 1963, 60 years on ‘How To Succeed In Business Without Really Trying’ is back in the West End, but this time, explored through a refreshing new lens.
As a regular attendee of the Southwark Playhouse, I was thrilled to be invited along to the press night of their latest production. The venue, which I like to see as a melting pot for innovative, and boundary-breaking projects and productions acts as an effective home for Director Georgie Rankcom’s adaptation of the Frank Loesser & Abe Burrows’ classic.
As a Genderqueer individual, there is nothing more inspiring than seeing casting teams throw the textbook of gender binary out the window, and deliver an intersectional cast that is both representative of the modern world, and highlights and celebrates the phenomenal trans, non-binary and gender-diverse talent in the industry. To see yourself reflected and represented in a cast is extremely empowering and touching, and sets a blueprint that all productions hitting the West End should follow. The story follows the rise of humble window-washer J.Pierrepont Finch, who uses a little handbook called ‘How to Succeed in Business without Really Trying’ (in this instance, voiced by star of RuPaul’s Drag Race Michelle Visage) to rapidly climb the corporate ladder at World-Wide Wicket Company.
The satire of big business and all it holds sacred took Broadway by storm during its premiere in 1961, sweeping all the awards including the Tony Award for Best Musical and a Pulitzer Prize, with its most recent revival in 2011 with lead Daniel Radcliffe.
Notably, the behaviour of these characters and their workplace dynamics and relationships are prehistoric attitudes that don’t reflect modern society. That being said, it was clear that there is a united and intentional approach from the cast and creative team that the portrayals of these characters were a deliberate comment on, as opposed to an endorsement of, the ideals of the past. Something that instantly drew me into this cast was their superb ability to deliver through a playful lens, allowing them to thrive within their characterisation, and bounce off one another magnificently. In particular, Allie Daniel gave a standout, and fully rounded performance as Rosemary Pilkington, showcasing a delightful level of range, dynamic and depth. Additionally, Verity Power (Smitty), and Elliot Gooch (Bud Frump) have to be spotlighted for their excellent comic-timing, and extravagantly camp, yet charming characterisation.
The cast delivered stellar vocals, with a fantastic blend of harmonies, and standout solo numbers and phrases. As someone who was experiencing the soundtrack live for the first time, I was pleasantly surprised by the wit and light-hearted tomfoolery that shone through the delivery of the lyrics and each number, with a particular highlight being ‘Coffee Break’ in Act 1. While the soundtrack isn’t one that will be looping in my head, it contains a fantastic blend of genres and was delivered strongly.
If you’re looking for a dose of eccentric theatrical escapism, grab your suitcase and delve into this world of caricatures, caffeine and comedy!
Review by Adam Tipping
Rating: ★★★★
