Theatre in London still surviving despite the pandemic

This is London Theatre’s darkest hour. Most have remained closed since March last year, and thousands of talented, creative, Londoners have been forced out of work, writes Christopher Walker.

At this bleak time there is a temptation for theatre-goers to hibernate until the vaccine ‘Thaw’ comes.

For ‘creatives’ themselves, this is simply impossible.

As Theatre Channel’s wonderful streaming service shows, their spirit has not been cowed – their energy and enthusiasm is still very much alive, just waiting to spring back.

Perhaps we should ‘peep above the covers’ to support them.

The project is the brainchild of producer Adam Blanshay who brings a touch of Broadway pizazz and Michael England controls the musical supervision.

But it is perhaps Bill Deamer, veteran director and choreographer, who injects a real flavour of London theatre.

Many of the set piece musical numbers are filmed in Shaftesbury Avenue, on the roofs (or even the cellars) of London theatres, or, as a default position, in the cramped confines of the Theatre Café, transformed by some theatre magic into a West End stage.

Bill wanted “not to just do songs in cabaret,” compete with the best of Netflix and YouTube, and lose.

Instead, he coaxes very individual performances from his stars, performances that are “not a concert” but “convey the narrative story.”

As Bill says “it’s all in the eyes.” Watching the whole series, this works best when well-known hit songs are in the hands of consummate professionals like Cassidy Janson. Bill himself picks out the same highlights I would.

The breakthrough moment comes on a rooftop when Jodie Steele incarnates a female Judas and delivers an electric performance of Heaven on Their Minds, from Jesus Christ Superstar.

Rob Houchen’s Gethsemane, from the same show, is likewise top class.

The challenges of pulling this all off in a time of Covid are not to be underestimated.

During the filming of the fifth episode in the series, Broadway Classics, just released, Bill himself was forced to self-isolate, and choreography became an interesting juggling act with Zoom calls and mirrors.

Social distancing rules must be incorporated into the choreography.

This latest episode stars the gorgeous Freddie Fox, as the androgynous Compere from Cabaret, performing two hits – Willkommen and Money, Money.

He throws himself into it, demonstrating he can touch the bottom of his chin with his tongue.

Bonnie Langford is equally versatile, still doing the splits at 56 in a spangly red hot cat suit, while effortlessly performing I Get a Kick Out of You.

Mazz Murray delivers a rollicking Everything’s Coming up Roses from Gypsy.

As with all theatre it is important to remember the great breadth of creative talent beyond the stars.

The Café Four are perhaps the luckiest chorus boys and girls still working in London – Alyn Hawke, Emily Langham, Sadie-Jean Shirley and ex-lifeguard Alex Woodward. Katy Harris deserves an award for Freddie Fox’s make-up, and credit is due to Gregor Donnelly’s transformations of cramped spaces, helped by Jack Weir’s lighting.

But the most touching moment of this new episode comes when Marisha Wallace stands on top of the National Theatre and delivers Somewhere from West Side Story.

I asked her, via Zoom, how it felt as an American who has made her home in London.

She expressed her love for our city, and her hopes for an ever more inclusive theatre after Covid.

The foundations for London musical theatre here are strong. In the year before the Pandemic, as well as Marisha in Waitress, we had black leads in & Juliet, and the Boyfriend.

Let us hope we can build on this, and bring in more actors from London’s underrepresented South Asian community.

Marisha herself came down with Covid (apparently along with most of the cast of Waitress).

Her performance has such meaning at present, speaking of all our hopes for London’s theatre.

“We’ll find a new way of living.”

Pics: Edward Johnson

Main Pic: Full Company