‘Crazy for You’ review by Emily Sanderson

The best way to describe DULOG’s ‘Crazy for You’ is simply joyous from beginning to end. This classic, hilarious and memorable musical will have you smiling from beginning to end without fail. Celebrating 75 years of the musical theatre group’s outstanding legacy as an integral part of Durham Student Theatre, the show certainly does not disappoint. Telling the story of finding community through theatre and putting on a show, the show itself is a theatrical celebration.

 

‘Crazy for You’, written by Ken Ludwig, with music and lyrics by George and Ira Gershwin, follows the passage of Bobby Child from a dissatisfied New York banker to an ambitious saviour of the Deadrock theatre devoted to his love. The heartfelt story is, of course, accompanied by an exceptional soundtrack and relentlessly energetic ensemble performances. 

 

DULOG’s incredible orchestra, led by musical director Daniel Hicks and assisted by Kyle Ludlow, immediately set the scene for this show with their powerful overture, leaving the audience in keen anticipation for the curtains to open and reveal what is to come. It must be said this musical would not have nearly the impact it does without this unit of talented musicians. Each of them must be commended for their unfaltering performance throughout, which forms a strong foundation for the singers to build on. Although it slightly overpowers the onstage voices at times, this does not take away from the show’s professional quality.

 

Furthermore, the Gala stage provides the perfect venue for this spectacle, thanks to the dedicated production team, including Production Manager Tim Millard, Assistant Production Manager Rory Collins, Stage Managers Josh Greenwood and Anna Brezinski and Assistant Stage Managers Faith Gorton and Evie Collins, supported by a wonderful team of technicians and stage crew. This is by far the best set I have seen in a Durham production, with incredibly careful attention to detail and seamless set changes between scenes. The bright cityscape of the New York setting with the light-up ‘Zangler Follies’ theatre contrasts the rustic setting of the gold-mining town of Deadrock fantastically, and the stage is seamlessly transformed from one setting to another practically in the blink of an eye. This transformation stands out in the opening of ‘Bidin’ My Time’, leaving the audience both in awe and in fits of laughter. Other highlights are the car, the set pieces which somehow fall apart on their own, and the curtain through which the silhouettes of the dancers can be seen. This set elevates the performance’s standard even higher.

 

Enhancing this even further is the work of the tech team. The lighting designed by Theo Nellis, assisted by Jonathon Wilson-Downs and operated by Eloise Reading and Leyla Aysan Montoya is flawless, quite literally lighting up every element of the show with effectively placed spotlights and eye-catching colours. Henry Flack, Rebecca Vaughan-Willians and Isabella Broxis also cannot be faulted for their execution of sound.

 

Michael Nevin excels in the lead role as Bobby Child, with versatile characterisation that shows not only the endearing journey of his character but also his hysterical adopted persona of Bela Zangler. Nevin flourishes as both characters, with brilliant comedic timing and professional quality dancing. Nevin’s energy is infectious, and the audience is under his wing throughout the show. A highlight of the show for me is when Nevin faces Ollie Cochran as the real Bela Zangler, ridiculously yet perfectly mirroring each other’s actions in a farcical sequence of movements, which has the audience crying with laughter. Both actors have hilarious and iconic roles in the show. Once you think they are done, they go one step further; this is a credit to the excellent and creative direction of Ben Cawood and Hannah Thomas.

 

Connie Richardson flourishes as Polly; her voice is stunning. Richardson dominates the stage with ceaseless energy, power and flare, yet she similarly provides some of the most beautiful and soft moments of the production. Her onstage chemistry with Nevin is also commendable, they make a delightful duet with a tangible connection, and their voices harmonise in symphony. Another stand-out moment for me is their final dance together, where the curtains fall, creating a level of intimacy which then reveals a sparkling, colourful set and ensemble behind them.

 

Other notable performances include Lucy Rogers, who is iconic as Irene and has impeccable stage presence, especially in the sultry, cheeky number ‘Naughty Baby’. Furthermore, Charlie Holiday and Jacob Vellucci make an entertaining double act, and their jubilant portrayal of Patricia and Eugene Fodor warms the stage and audience every time. Max Hildred is cast excellently as Everett Baker, making a great bumbling old man. Similarly, although her appearances are relatively fleeting, I love Lottie Child played by Charlotte Field, who convincingly embodies the controlling mother figure. George Cass, Joachim Price and Harry Alderidge are additionally a highlight of this production as the goofy cowboy trio of Mingo, Moose and Sam, evoke hysterics from the audience, especially their lumbering physicality, mindless singing and awkward dancing.

 

Cawood and Thomas must be further commended for their intricate direction throughout. They have created a show which is so fun yet contrasts huge, exciting moments with beautifully poignant, quieter moments; it is not only a celebration but an emotive and heartfelt one. Ensemble numbers such as ‘Slap that Bass’ and ‘I got Rhythm’ stand out, especially for their wonderful choreography by Daisy Allen and Xanthe Gibson, who have created gorgeous and engaging visuals with perfectly timed canons and joyous kick-lines, not to mention the powerful group tap sequences, excellently synchronised down to head movements and facial expressions. The Follies are so fun, reminiscent of classic musical theatre showgirls and the cowboys are brilliantly melodramatic and silly. Considering not every dancer has tonnes of tap experience, it is hardly noticeable, and they pull it off wonderfully. These ensemble moments are juxtaposed by solo and duet numbers such as ‘Embraceable You’ (performed by Nevin and Richardson) and ‘But Not for Me’ (sung beautifully by Richardson).

 

I must also commend the costume designers, seamstresses and wardrobe supervisors. The show could have the same impact without its iconic outfits such as the tasselled dresses of the follies, cowboy hats and, of course, Zangler’s pinstriped suit and (temperamental) fake moustache. I particularly appreciated how the choices of colour palette and style were personalised for each character.

 

Overall, ‘Crazy for You’ is a must-see bundle of fun, nuanced with touching and beautiful moments but made by its incredible professional quality ensemble, orchestra and huge creative and production team. The show applauds 75 years of DULOG and kicks off the next 75 with ecstasy. ‘Who could ask for anything more?’. 

 

 

Photo: DULOG

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