REVIEW: The Artist at Theatre Royal Plymouth

Not a conventional musical, dance show or play

EXHILARATING dance is at the heart of this loving and celebratory stage adaptation of the 2011 Oscar winning Michel Hazanavicius film.

And although there are some magically inventive video designs (hats off to Ash J Woodward) in this production, it is unashamedly theatrical and oozes warm charm. 

Describing quite WHAT sort of theatre it is might make you pause. It’s not a conventional musical or dance show or play, but it is always entertaining and well worth the 110 minute straight through running time.

A lot is riding on this for the Theatre Royal Plymouth. This is a major investment in an adventurous new piece of work in financially straitened times, so it is no doubt a cause for celebrations (as well as sighs of relief) that it works – and works well.

We open in the glory days of silent cinema with box office heart-throb George Valentine (terrific Robbie Fairchild) at the peak of his swashbuckling career. But when you are at the top, the only way is down. And as with the movie A Star Is Born, as his career stumbles, chorus girl Peppy Miller (brilliant Briana Miller – what a find!) finds her voice as the Talkies kick start a new era in cinema. Her ascent to stardom is as swift as his descent.

There is wit and fun in this re-telling of the story which has some lovely new touches. George is in crisis, because like many people (and often men) he can’t or won’t talk. His neglected wife Doris (Ebony Molina) is a more nuanced character and the gardener (Will Bozier) is a welcome addition. Is Uggie the dog in place? Yes, as a puppet, ably handled with as ense of fun by Thomas Walton.

It’s an interesting and positive development to see the females given more agency while studio boss Al Zimmer (a welcome return from Gary Wilmot) is worldly but also more human.

Whether it’s the opening scene with musical director Isaac McCullough on stage at the keyboard with chorus girls armed with silent cinema style messages, or the arrival of sound in the silent movie world or chauffeur Clifton (versatile Alexander Bean) driving through downtown Hollywood with a drum kit, there is a sense of fun contrasting with the drama.

Director/ choreographer Drew McOnie has co-adapted the film with Lindsey Ferrentino and it feels as if it is a labour of love. They are blessed with high production values in Christopher Oram’s stylishly evocative set and costumes and Simon Hale’s music which cleverly mixes in standards from the period with his new score.

More sense of jeopardy would have helped in scenes involving a fire and later, a gun, and I wasn’t convinced the puppet cat added very much, but I AM sure that the many elements added up to a memorable night of theatre.

After all the investment, they want it to have a life beyond Plymouth. It deserves it.