Reviewed: Fame

Walking into the Gala for DULOG’s Fame, you’d be a fool not to expect a performance filled with teenage angst, the consuming pursuit of stardom and the buzz of youthful energy. DULOG’s company didn’t disappoint but admittedly suffered from some first night nerves which detracted from the show and the potential of the performers.

Musicals such as Fame are designed to entertain rather than necessarily educate and as a result tend to be visually and aurally spectacular. With pyrotechnics, a seemingly apparitional taxi, busy choreography and the most successive lighting changes I have seen in a while, Fame, without challenging, succeeds in entertaining its audience.

The cast

Naturally with such a sizeable ensemble, endless musical numbers which as well as sung must be acted and danced; the list of potential problems and issues grows. Musicals incur risks which plays avoid and Fame’s opening night hinted towards a few, though that is not to detract from the incredible efforts of Director Julia Loveless and her production team whose time has undoubtedly been well invested.

The most obvious issue is evident from the opening: the lack of energy in the chorus. A musical carried by so many choral numbers requires commitment, unity and an exponential amount of energy which is absent from the ensemble in the opening, and replaced by awkward bumbling.

It is not until the reprisal of ‘Hard Work’ is it that the group exhibits confidence, real excitement and comfort in the piece, though admittedly once this is achieved it is sustained. Initially, however, the contrast in energy levels and confidence between chorus members and principal characters is striking.

Luckily I am well acquainted with Fame, for were I unfamiliar with it, I would struggle to understand much of the narrative as the band unfortunately drowns some of the actor’s voices and moments of desperation, comedy and tenderness are lost. During the infamous ‘Fame’ number, Hannah Howie (Carmen)’s voice is barely audible and Tyrone’s Rap performed by Alex Wingfield too is at times indistinguishable from the music.

As far as directorial vision is concerned, Loveless is not ambitious with imposing an original or ground breaking concept upon the show and so preserves its natural vigour and vitality. Interesting moments exist and remain visually striking, such as the chorus moving, sounding and appearing like a train to symbolise their individual journeys to PA.

The opening of act two and the set up for the rehearsal introduces meta-theatre with the real technical team appearing on stage setting up the set for the performers- such touches by Loveless indicate a promising creativity which perhaps needs a little more room to flourish than a musical like Fame could accommodate for.

Smaller details which appear neglected are however visible, such as Iris attempting to exit one side, then suddenly changing which side of the stage she will exit in order to bring the dialogue to centre stage; the character’s logic appears flawed for the sake of a simple solution solvable with a little more consideration.

Also, the alignment of the chorus in the finale ‘Bring on Tomorrow’ appears random, as most of the shorter performers are abandoned at the rear of the group, completely eclipsed by the taller actors. Such small details require tidying as the efforts of the cast and crew merit much more than for such things to be merely brushed over shabbily. Nonetheless, overall the show is thoroughly entertaining and you really do feel engaged with the action on stage.

The final, most tangible issue is the apparent difference in time invested in the characters by actors and director. Though relatively minor in comparison to Carmen, Goody (Simon Lynch), appears more fully fleshed out as a ‘real’ character in comparison to the teachers such as Miss Sherman or Miss Bell.

Such characters seem somewhat abandoned by depth and require a little more development to acquire conviction, though no doubt Hannah Cope and Izzy Talks’ duet is striking in its musical quality. Schlomo (Ben Gittens) and Carmen, however, share intensely tender moments which are present too in Serena (Natalie Goodwin) and Nick (John Muething) ’s scenes. This pair provide a wonderful mix of comedy and sentimentality to the show; and through Goodwin’s portrayal of Serena as innocent but not wet, we are uplifted even after the most crushing number ‘L.A’.

The slim Mabel and white Tyrone are an initial shock to the system as Lucy Oliver and Alex Wingfield do not physically resemble their characters in the slightest. The investment and distinction in costume however help us to identify them and believe in their reality – the actors do a great job themselves too with creating convincing accents and friendships on stage. José, portrayed with the highest comedic value by Michael Forde, is a brilliant component to the show, whose Bronx accent and sleaziness is inescapably endearing. Howie, however, undeniably steals the show from the moment she first enters in green patterned leggings with a blond mane in a high ponytail which oozes confidence, ambition and of course sex appeal. Her attire is bold as her performance- metallic red leggings and a fake Chanel top embody Carmen wonderfully and constantly draw the eye no matter where she is on stage. Howie’s vocal and facial expressionism is second to none, comedic moments are inserted wherever possible and appropriate (including some rather suggestive leg stretches in José’s direction). Unfortunately due to the volume of the band, her voice in ‘Fame’ is lost, but resounds beautifully in ‘L.A’, hitting some incredibly high and well sustained notes.

Though on Fame’s opening night the performance varied in energy and conviction across the actors, it was a charming way to spend an evening. Moments of choreographic genius arise, in particular the Latin inspired tap piece opening act two, which in fact led to a few gaping mouths. This opening to the second half promises new life which was definitely injected into the show last night; act two being infinitely more enlivened than the previous half. Though awarded three and a half stars for the opening night, once initial nerves have vanished I have no doubt that Fame will assume all of its strength, reach its full potential which its quality merits.