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Forever Plaid |
Camden theatre| Forever Plaid |
Upstairs at the Gatehouse review| 1950s barbershop quartet
FOREVER PLAID
Upstairs at the Gatehouse
HOLY kinoley – this is one super-duper show.
Forever Plaid is the story of Frankie, Sparky, Jinx and Smudge, four Pennsylvanian “good guys” who met in high school in the 1950s and formed a barbershop quartet right at the time when a cappella singing was going out and
rock’n’roll was coming in.
Unusually, the musical opens with the group’s deaths but continues with their reincarnation and decision to perform their first and last real concert to allow them to “move on”. Despite a thin story line, the ensuing hour and a half is filled with catchy tunes, comical choreography and hysterical one-liners.
In what would be better described as a concert rather than a musical, Forever Plaid incorporates classic 1950s music – Shangri-La by the Four Coins and Papa Loves Mambo by Perry Como, for example – with entertaining characters.
The Plaid boys have a lot to be sorry for.
Frankie is asthmatic, Jinx has nose bleeds brought on by nerves, Sparky used to have speech therapy and Smudge – well, he is simply hopeless.
Brought together, they create a farcical quartet of nervous geeks.
Their routines, choreographed by Racky Plews, varied from finger-clicking to tap dancing and included quirky twists.
In one sequence, the Plaids put on their own version of the Ed Sullivan Show in a three- minute routine filled with manic juggling, bull fighting and Sparky twirling around the stage in a traditional Spanish dress.
Sparky, played by Joe Allen, steals the show. A good head and shoulders below the rest of the gang, his thick Pennsylvanian accent and eccentric gestures formed a funny and lovable character.
Anthony Williamson plays Smudge, the most awkward out of a very awkward group.
His brilliant use of bizarre facial expressions and clumsy movements had the audience both laughing and wincing.
The upbeat songs were more enjoyable than the slower pieces and even included some audience participation.
John Plews’s direction ensured each routine was different and entertaining throughout.
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