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The Theatreguide.London Review
State Fair
Trafalgar Studios Summer 2010
Wonderful!
Luminous!
Life-affirming! This review could be comprised of superlatives
to describe State Fair.
The original novel became a film adaptation, then a musical
movie with music and lyrics by the golden partnership of Richard
Rodgers and Oscar Hammerstein II.
A
stage musical version emerged in the mid 1990’s and the journey
now continues in director Thom Southerland’s UK premier stage
production, originally at the Finborough Theatre, and now for a
month at the Trafalgar Studios’ 100-seater Studio 2.
How, I wondered, would such a small space contain the weight and
breadth of a Broadway-style musical? Worry not.
The
venue
and stripped-down style is partly what makes this State Fair
such a gem. The front row brushes against the actors at times:
we can see their facial expressions, feel the floor trembling
beneath barn and tap-dancing feet; and hear clear, mellifluous
singing unaided by microphones or mixing desks.
The Frake family (mom, pop, son Wayne and daughter Margy) forms
a micro-lens through which we are able to view post-war American
country life and the enjoyment of the three day annual Iowa
State Fair, more competitive and a step up from the county fair,
yet still allowing for hoopla throwing, candy floss, pigs,
pickles, mincemeat and the chance to dance with your girl and
walk her home.
The talented, effervescent cast each deserves a mention, but a
few subjective favourites must suffice: Laura Main’s Margy,
whose ‘It Might as Well be Spring’ is sung with an appreciation
of every emotional nuance; Jodie Jacobs as show-girl Emily Arden
who captivates Wayne (Karl Clarkson) and embodies her role with
such truthfulness that I truly believe her to be an aspiring
Broadway star; Helen Phillips, whose versatility ranges from
obnoxious child to competitive wife with a face as sour as the
pickles she produces; and Stephen McGlynn, delightful as worldly
journalist Pat Gilbert who rocks Margy’s world and might be
ready to be transformed by love.
Harmonies are pitch perfect and the strength of ensemble-work is
exemplified in the incrementally building, and finally soaring
‘It’s a Grand Night for Singing’ that closes part one. Colourful
sights and sounds transport us back to a time of innocence and
simplicity, creating a nostalgic longingin those not born in
1946.
Special praise for Musical Director Magnus Gilljam’s piano
playing, the sole musical accompaniment that includes keystrokes
mimicking the sounds of the fair. This show creates joy and, in
our uncertain times, what a wonderful, luminous, and
life-affirming thing that is.
Anita Butler
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