Gone with the Wind - New London Theatre (review)
Review by Lizzie Guilfoyle
IT WAS never going to be easy stepping into the shoes of screen icons Vivien Leigh and Clark Gable but Jill Paice and Darius Danesh have risen to the occasion and made the roles of Scarlett and Rhett their own in Trevor Nunn’s musical adaptation of Gone with the Wind.
Set in 1860s Georgia, Gone with the Wind is a remarkable story, spanning 12 turbulent years in the life of Scarlett O’Hara, the beautiful but headstrong daughter of cotton plantation owner Gerald O’Hara. Outwardly carefree, Scarlett’s happiness is thwarted by the one thing she can’t have – Ashley Wilkes.
An obsessive love, it endures despite Ashley’s marriage to his cousin Melanie and her own marriages of convenience, first to Charles Hamilton and later to Frank Kennedy. Even a third marriage to the cynical blockade runner Rhett Butler, with whom she shares a stormy relationship, is no obstacle.
Yet the winds of change threaten everything Scarlett holds dear as Civil War sweeps into Atlanta, destroying her hopes and dreams and eventually, her love for Ashley….
I was one of a second wave of journalists charged with reviewing this epic production so, of course, I’d read the earlier damning reviews. However, I went with an open mind and was soon of the opinion that I was seeing an altogether different production.
Yes, it is long – a little over three and a half hours to be precise – but, with just over a thousand pages of small print, so is the book. And forgive me if I’m wrong, but the film ran for a marathon four hours and I don’t recall anybody complaining about that. Besides, the essence of Mitchell’s enduring and well-loved story would surely be lost in a ‘cut’ version.
That said, the second and somewhat darker act could be trimmed simply by cutting down the musical numbers. And yes, I know this is a musical but does Melanie really need to sing on her deathbed? I don’t think so. The music, however, is far from superfluous and catchy little ditties are interspersed not only with love songs but also with negro spirituals and blues numbers. Even so, listening to them just the once isn’t enough for their worth to be truly appreciated.
As I’ve already hinted, Danesh and Paice are superb as Rhett and Scarlett – Danish is roguish charm personified, yet at the same time he manages to expose the inner pathos of a man deeply wounded by betrayal and the death of his beloved daughter. And Paice, as pretty as a picture, eases herself into the demanding role of feisty heroine who learns too late the error of her ways. There’s an undeniable chemistry even when grief tears them apart.
In fact, I cannot fault the cast in any way and special mention must go to Madeleine Worrall as Melanie, Edward Baker-Duly as Ashley, Natasha Yvette Williams as Mammy and Jina Burrows as Prissy, whose performances capture the characters they portray in a way I’m sure Mitchell envisaged them – helped in part by the rich array of costumes.
Finally, John Napier’s uncluttered set that extends into and around the auditorium suits the production well. It may lack the extravagance of certain shows and be somewhat short on spectacle – the burning of Atlanta, for example – but it serves it’s purpose adequately. Besides, these are shortcomings – if you can even call them that – that work very much to the cast’s advantage, allowing them to shine without unnecessary distraction.
If you love the book, you’ll love this production. And if the film was your introduction to Gone with the Wind, I don’t think you’ll be disappointed. I just hope critics haven’t condemned it to failure because that really would be a pity.
Gone with the Wind – presented by Aldo Scrofani, Colin Ingram, Gary McAvay, Nederlander Presentations Inc and Peter Kane.
Based on the novel by Margaret Mitchell.
Book and Lyrics by Margaret Martin adapted by Trevor Nunn.
Music by Margaret Martin.
Designer – John Napier.
Costume Designer – Andreane Neofitou.
Lighting Designer – Neil Austin.
Movement Director – David Bolger.
Sound Designer – Paul Groothuis.
Musical Director – David White.
Resident Director – Stephen Rayne.
Casting Director – David Grindrod.
Executive Producer – Aldo Scrofani.
Orchestrations – William David Brohn.
Musical Supervision and Arrangements – Gareth Valentine.
Directed by Trevor Nunn.
CAST: Jill Paice, Darius Danesh, Edward Baker-Duly, Madeleine Worrall, Natasha Yvette Williams, Jina Burrows, Julian Forsyth, Susannah Fellows, Ray Shell, Jacqueline Boatswain, Leon Herbert, Chris Jarman, Susan Tracy, Jeff Shankley, Kathryn Akin, Susan Jane Tanner, Alan Vicary, David Roberts, Alan Winner, Gareth Chart, Tom Sellwood, Emily Bryant, Gemma Sutton, Kirsty Hoiles, Laura Checkley, Lorraine Chappell, Savannah Stevenson, Jenessa Qua, Tober Reilly, Ian Conningham, Derek Hagan, Horace Oliver and Rosalind James.
New London Theatre, Drury Lane, London, WC2B 5PW.
Tel: 0870 890 0141.
I’ve been reading and listening to all the critics reviews on GWTW and find that the views are mixed, some are very positive and some negative. Whilst some think it’s rushed others feel it’s too long. The negative reviews are the ones being regurgitated
It’s interesting that the reviews by friends and the public who post in blogs and on forums are mostly positive and speak of standing ovations. I haven’t seen GWTW but I don’t intend letting the critics put me off when the paying public appear to be thoroughly enjoying it!
Ken May 1 #