Movies

Clueless Musical: A Flawless Retro Delight That Will Make You Sing!

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Clueless (Trafalgar Theatre, London) 

Verdict: Retro fun  

In recent times, there have been numerous musical adaptations of teen romantic comedies. However, the fresh and vibrant stage production of the 1995 film “Clueless” stands out as one that continues to offer a catchy soundtrack.

That’s largely down to the bright and breezy score by Scottish singer-songwriter KT Tunstall.

However, the bright and lengthy California sunshine, reminiscent of the radiance emitted by actress Emma Flynn in her portrayal of the capricious yet endearing Beverly Hills socialite Cher, also played a significant role.

For those who admire the film inspired by Jane Austen’s ‘Emma’, there’s no need to worry: the humor and recurring phrases that the screenwriter, Amy Heckerling, has added to the movie are all part of the package.

Flynn’s Cher embodies the flawless, California-inspired Barbie doll from Beverly Hills High School, serving as both the reigning queen and style advisor. It seemed impossible to keep track of all the ensembles that followed her iconic mini yellow plaid suit.

Despite occasionally appearing dismayed when interacting with others less experienced than herself, she somehow taps into Cher’s seemingly endless positivity.

Flynn also has a knack for singing, and his performances are given an extra bounce thanks to Tunstall’s compositions. These melodies seem to draw inspiration from artists like Alanis Morissette, Green Day, and The Spice Girls.

Glenn Slater’s lyrics possess an inherent rhythmic vitality, and any wordsmith capable of rhyming ‘clueless’ with ‘socially intellect-deficient’ certainly has my admiration.

Lizzi Gee’s dynamic choreography spans from breakdancing to the Charleston, whereas Rachel Kavanaugh’s innovative staging gracefully glides in various directions throughout Beverly Hills.

1. In this production, Chyna-Rose Frederick and Romona Lewis-Malley deliver charming performances as Cher’s friends Lippy Dionne and shy Tai. Additionally, Max Mirza and Isaac J. Lewis bring life to the characters Elton, the confident suitor, and Christian, affectionately known as ‘cake boy’. Notably, Keelan McAuley excels in his role as Josh, Cher’s stepbrother and the main character, rizz.

2. The actors Chyna-Rose Frederick, Romona Lewis-Malley, Max Mirza, Isaac J. Lewis, and Keelan McAuley all deliver memorable performances in this production. Chyna-Rose and Romona play Cher’s friends Lippy Dionne and shy Tai, respectively. Max and Isaac portray Elton, the confident suitor, and Christian, a character affectionately known as ‘cake boy’. Lastly, Keelan McAuley shines as Josh, Cher’s stepbrother who plays the main role, rizz.

3. Lippy Dionne (played by Chyna-Rose Frederick) and shy Tai (Romona Lewis-Malley), Cher’s friends, deliver delightful performances in this production. Elton (Max Mirza) and Christian (Isaac J. Lewis), the alpha suitor and ‘cake boy’, respectively, also impress. Lastly, Keelan McAuley excels as Josh, Cher’s stepbrother who plays the main character, rizz.

4. Chyna-Rose Frederick, Romona Lewis-Malley, Max Mirza, Isaac J. Lewis, and Keelan McAuley all deliver standout performances in this production. Lippy Dionne (Frederick) and shy Tai (Lewis-Malley) play Cher’s friends with charm, while Elton (Mirza) and Christian (Lewis) bring life to their respective roles as the confident suitor and ‘cake boy’. Lastly, McAuley impresses as Josh, Cher’s stepbrother and the main character, rizz.

5. In this production, Chyna-Rose Frederick and Romona Lewis-Malley deliver captivating performances as Cher’s friends Lippy Dionne and shy Tai. Max Mirza and Isaac J. Lewis bring personality to their roles as Elton, the confident suitor, and Christian, affectionately known as ‘cake boy’. Keelan McAuley excels as Josh, Cher’s stepbrother who plays the main character, rizz.

6. The actors Chyna-Rose Frederick, Romona Lewis-Malley, Max Mirza, Isaac J. Lewis, and Keelan McAuley all deliver excellent performances in this production. Lippy Dionne (Frederick) and shy Tai (Lewis-Malley), Cher’s friends, bring warmth to their roles. Elton (Mirza) and Christian (Lewis), the alpha suitor and ‘cake boy’, respectively, also shine. Lastly, McAuley excels as Josh, Cher’s stepbrother who plays the main character, rizz.

7. The talented actors Chyna-Rose Frederick, Romona Lewis-Malley, Max Mirza, Isaac J. Lewis, and Keelan McAuley all deliver impressive performances in this production. Lippy Dionne (Frederick) and shy Tai (Lewis-Malley), Cher’s friends, bring humor to their roles. Elton (Mirza) and Christian (Lewis), the alpha suitor and ‘cake boy’, respectively, also captivate audiences. Lastly, McAuley excels as Josh, Cher’s stepbrother who plays the main character, rizz.

The show isn’t original, but it is as flawless as Cher’s complexion – and a sunny, retro night out.

 

Farewell Mister Haffmann (Park Theatre, London) 

Verdict: Far-right surge 

A Nazi character adds an intriguing twist to any story, and the play “Farewell Mister Haffmann” by Jean-Philippe Daguerre seems to gain depth and complexity with the emergence of a resurgence in far-right German politics towards the end.

The plot revolves around a theatrical piece, where Nigel Harman, playing Hitler’s ambassador to France, and his wife, portrayed by Jemima Rooper, are invited for dinner at a Parisian jeweler’s residence. Unbeknownst to them, the jeweler is secretly sheltering his Jewish employer in the basement.

Until then, Daguerre’s work is a slightly earnest confection.

In a turn of events, skilled Jewish jeweler Joseph Haffmann (portrayed by Alex Waldmann) hands over his business to his capable apprentice Pierre (Michael Fox). However, Pierre and his wife Isabelle (Jennifer Kirby) are facing difficulties in having children, leading him to seek Mr. Haffmann’s assistance during his time in hiding. The situation is already awkward, but it becomes truly tense when a real Nazi official arrives on scene.

Just an hour remains before the initial awkwardness downstairs transforms into an exhilarating journey upstairs, marked by the arrival of Harman’s elegant envoy and Rooper’s charming spouse. Yet, the anticipation makes it all worthwhile.

The production skillfully combines humor and drama, revealing the lingering animosities within French war-torn society. However, it is the impending threat from the Nazis that truly ignites tension.

Clueless runs until September 27. Farewell Mister Haffmann runs until April 12.

 

Punch (Young Vic, London) 

Verdict: It’s a knockout  

It’s all in the title: a thumping, in-yer-face drama that leaves you winded — and in tears.

Once more, the highly productive and exceptionally gifted playwright James Graham (known for Sherwood on TV and Dear England at the National Theatre) employs a true-to-life narrative to shed light on and scrutinize the deteriorating social and political landscape of Britain.

The story opens with a remembrance of a significant evening in 2011. Young adult Jacob, from the working class and involved in drug dealing, is seen roaming around the dismal Meadows estate in Nottingham, effectively depicted by Anna Fleischle’s concrete walkways above a dark underpass. David Shields portrays Jacob as intoxicated – ready for a brawl, not for any particular reason other than it’s what he and his careless, impulsive group usually do on Saturdays.

One single, senseless swing kills James, 28, a trainee paramedic.

After completing his 15-month term for manslaughter, Jacob’s thoughtful parole officer encourages him to participate in a support group. This is the first time Jacob ponders the consequences of that punch, not on himself, but on James’s distraught, mourning parents.

Through Remedi, an organisation dedicated to restorative justice, he meets them.

In a later time, James’s father (Tony Hirst) refrains from grasping the hand that dealt the final blow. It’s tough not to shed tears when, years on, they shake hands – or when James’s mother (Coronation Street’s Julie Hesmondhalgh) stands by Jacob, who has changed significantly and appears calm, regretful, and composed, as they converse with schoolchildren about violence. She cannot find it in her heart to forgive him, but holding onto hate is worse.

In simpler terms, a punchline is essentially a symbolic story and the way it condenses essential details and time can sometimes give it a simplified or formulaic feel, compared to the complexity of Graham’s dramatic performances.

Adam Penford’s exceptionally staged production, initially presented at Nottingham Playhouse and destined for Broadway, delivers its point with the force of a sledgehammer. In other words, sometimes what seems to be incorrect can lead to something right, and in that aspect, Punch is an impressive victory.

Until April 26.

REVIEWED BY GEORGINA BROWN 

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2025-03-14 05:26

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