Culture

Review: Singin’ In The Rain, WMC

Reviewed by Matthew Lee Schneider

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Splashing legs sweep with forceful grace, weaving droplets of rain into curtains which drape across the audience.  A relentlessly rotating rainbow of umbrella navels frolic up and down, left to right, round and round.  Twirling, swirling, tapping, clapping, falling (in love), dancing, jumping, singing, yelling; this is Singin’ in the Rain.  Arriving at the Millennium Centre by way of the West End, Singin’ in the Rain will forever reaffirm its seating in the Pantheon of stage productions with a grace unique.

The timeless tale of Hollywood’s twentieth century film fervor Singin’ in the Rain brings boisterous voice to the goodbye of silent movies.  Exploiting every square centimeter of stage as well as talent, this twenty-first century rendition proves that progression is a beautiful thing, as is nostalgic sentiment.

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Lockwood, Lamont, Cosmo and Selden are characters which will forever endure, strong personalities intact.  Screen star Maxwell Caulfield along with West End leading lady Faye Tozer headline an exceedingly competent cast, assuming intimidating roles which demand a heightened sense of character awareness and talent.

Waiting excitingly for the first note to ring out through the room, the hundreds of seats scattered in an encompassing pattern are inhabited by individuals whom feel unknown, strangely foreign.  The power of such a musical institution, however, transforms these strangers into a single entity which lives, laughs, and reminisces together with this first note.

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With each new yet old song, anticipation and excitement erupt simultaneously throughout the rows as an indication of the love of this innocent entertainment and a love for something as simple, yet infinitely wonderful, as singing in the rain.

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