The Review - THEATRE by ANDREW MATHYS Published: 6 November 2008
Dark matter sparkles with magical music
REVIEW: RUE MAGIQUE
King's Head Theatre
CHILD prostitution is a delicate subject to talk or read about, let alone stage with music in an intimate theatre.
But that is what director Lisa Forrell and musical director Andy Massey have done with Rue Magique.
They have created a production that does not expound its “based-on-a-true-story” roots, but rather seeks to make the
audience aware of an industry which isn’t discussed enough.
Thirteen-year-old Sugar is played by fresh-faced Nadia Di Mambro, and she has the perfect singing voice to complement Melanie La Barrie’s gritty brothel-owner character, Desdemona.
La Barrie commands the stage and has several extraordinary solos, delivered with vigour.
Julian Forsyth and Terel Nugent showcase a beautiful sound as well as the best beat boxing, ever, while the underused, hilarious male ensemble trio perform a song to die for: this song must be seen not read about.
The fairly light script is muscularly supported by superb music and lyrics. Cardboard, Another Kind of Kiss and Flex are three songs which demonstrate the musical intelligence of Brett Kahr, clearly well orchestrated by David White.
The flawless band provide an immaculate accompaniment to the performers, with every note modestly supporting the actors.
Despite a lack of pace at the start, the production picks up nicely and blossoms throughout the evening. Above all, this is a show about family, home and the sense of wanting to belong to someone.
After recent stories of Joseph Fritzl in the press, this musical seems current and important.
Despite an unlikely subject matter for a musical, the music vitally assists the story;
Forrell and Massey have done a grand job. Until December 7
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