Review – Puttin’ on the Ritz – Congress Theatre, Eastbourne

Between the three of them, Irving Berlin, Cole Porter and George Gershwin wrote, without question, some of the very best songs of their era. Fantastic numbers that have stood the test of time so well that, even the tunes that were penned 100 years ago are still firm favourites. So why, with a catalogue of such musical greats to perform, does Puttin’ on the Ritz fall rather flat?

As the curtain opened everything looked fine. There is a large set, with a central bridge connecting two sweeping staircases, which descend either side of a large video screen. Surrounding the set is a huge backcloth of twinkling lights, to add some extra glitz and sparkle to the proceedings.

Sadly, at this point, things start to go wrong. The pre-recorded music is nowhere near loud enough to fill the vast space that the Congress theatre offers and, with the backing track set so low, the microphones also have to be set low which leaves many in the audience straining to hear all of the words of the opening number, There’s No Business Like Show Business.

Sixteen dancers and six singers take to the stage and, very soon, it becomes obvious that the rather large set is actually a bit too large with some of the dancers having to leave in order for the rest to perform some of the more flamboyant and fast dance routines.

As the cast prepare to leave the stage after the opening song the second track is, rather unexpectedly, already playing which causes major confusion on stage with some of the cast trying to play catch up with the music, some dancers trying to find their places and the rest looking just a little bit stunned. Eventually one of the six singers calls out for the track to be restarted and, although chaos on stage turns to calm, some of the audience are starting to get uncomfortable.

A couple of numbers later is Irving Berlin’s Top Hat, a chance for the dancers to show off their tap dancing skills – or maybe not. This time the pre-recorded “click track” is so loud that, even if all the dancers actually had tap shoes on, they would never be able to make themselves heard which, when the producers have such a talented troupe of professionals, is actually rather insulting to them.

After a few more song and dance numbers the stage is cleared to make way for the Special Guest Star – Lorna Luft. For those who don’t know, Lorna Luft is the younger daughter of Judy Garland, and boy does she like to let you know! She only performs two numbers in the first half and four in the second, all of which were her mother’s songs, and, in between numbers, she manages to use the words “My Mother” countless times.

I know I am being rather harsh but, with ticket prices as high as they are, the audience deserves better from a show that has so much potential and, at every opportunity, wastes it. Most of the costumes, although very glamorous, are ill fitting and (particularly with the dresses) display large patches in the back where they have been “let out”, the video screen is mainly used to display the names of the multi-million selling worldwide hits that are being sung – which I found rather patronising and the vast amount of the show that is pre-recorded – the opening of act two was played directly from the show’s CD until the, totally inept, sound operator finally realised and turned up the live microphones.

Now, the good news, in the middle of all the negativity there are some shining lights. Sarah Earnshaw does belt out a tremendous version of My Man, Emma Kate Nelson is wonderfully seductive with My Heart Belongs to Daddy and some of the dancers, like Phoebe Henderson and Tommy Wade Smith, are very enthusiastic and work incredibly hard.

The star of the show (sorry Lorna), with bucket loads of talent, more charisma than you can shake a sick at and a stage presence that bursts it’s way right to the back of the balcony has to be Paul Hazel. His interactions with the audience was welcoming but not intrusive, his voice is powerful but can be so sublime and I would gladly sit through the whole show again just to hear his wonderful versions of Birth of the Blues and Mr Bojangles.

**                    2 Stars