Superman Soars on London's Theatre Fringe

After a 48-year wait, London's All Star Productions is debuting composer Charles Strouse's Broadway musical, It's a Bird, It's a Plane, It's Superman at London's Ye Olde Rose and Crown Theatre. Until 22 March, 2014.

Review Opinion

By AwesomePromoz - Mar 11, 2014 03:03 PM EST

Filed Under: Superman

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The names Charles Strouse and Lee Adams hardly figure in any conversations about Broadway's great creators, and yet the team have Tony’s on their CVs for such iconic shows as: Bye Bye Birdie (1960); Applause (1970); and Annie (1977), which inspires a derivative Jamie Foxx vehicle to hit screens this year.

Lost in the shuffle is a little known fluff piece called It's a Bird, It's a Plane, It's Superman (1966) based on the popular DC comic book. The big blue boyscout had not been adapted to film at this point, and for this reason the play bears more resemblance to the naive George Reeves version, which ran on black and white tv sets from 1951-1958.

And now, in a post Man of Steel world, when we associate Superman more with computer generated destruction and swelling Hans Zimmer synth-tones than Laugh-In inspired psychedelica, All Star Productions has brought Strouse's tribute to the funny papers back to life at the London Fringe!

As far as tapping into counter-culture and rebelliousness, this musical stops short of the excesses of Galt McDermott's Hair (1967), and we must trust that it existed in a slightly kinder, gentler America. Yet the creators do probe into the necessity of Superman with brutal effectiveness, as the musical's nemesis Dr Sedgwick manages to unravel Supes' confidence in the penultimate scene, accusing him of fighting for personal glory rather than the greater good. This idea would play as undercurrent to many Zeitgeist influencing, genre-deconstructing media in the following years, most namely works such as Polanski's Chinatown (1974) which dared to obscure Jack Nicholson's face while ripping apart the beloved edifice of Hollywood Film Noir.

Aesthetically, this piece successfully channels the inspiration of the 60s Batman tv show which we all loved growing up. Designer Kate McPhee cleverly puts all the principal characters in bright, comic booky primary and secondary colours. Most striking is the banana yellow mini-dress of Lois Lane (Michelle LaFortune), with blue headband and beaded necklace, evoking her admiration for Superman. In the second act, Lois appears with green accessories, suggesting that her romantic inclinations have strayed to that of Jim (Charlie Vose), a humble scientist working for the evil Sedgwick.

Sedgwick's costume motif is the most outlandish, making purple a colour of pure evil in his violet lab coat and haz-mat mask. The comparison of Professor Plum came to mind, but actor Matt Ibbottson is totally diabolical with his barking, shrieking mastermind, likened to a cross between Jonah Hill and Al Pacino at his mesmerizing worst! Ibbottson is a comedian to watch out for.

As Superman/Clark Kent, stage veteran Craig Berry cuts a majestic figure. At well over six feet in height, Berry towers over other actors. The blue lycra bodysuit which could cause any actor to develop a complex, actually displays the effort the actor has gone to to tone and train, and purists will be happy to hear that the red briefs have not been doffed for this version. Most impressive about Berry however, is his powerful tenor voice! If Superman already had an impressive array of powers, you can now add chamber singing to his arsenal, as Berry croons and vibratos with long notes that would impress the great Caruso.

Last to earn a mention from the cast is newcomer Sarah Kennedy as Sydney, Clark Kent’s love-interest on the side. From Toronto, Canada, Kennedy brings amazing belted vocals and comic timing comparable to countrymen like Cobie Smulders or even Jim Carrey! Sydney’s second-act solo “Ooh, Do You Love You” is an absolute show stopper; the first number that actually hearkens to great movie musicals like Guys and Dolls, where I could imagine Sarah easily impressing as Adelaide with a rendition of “Bushel and a Peck.”

The plot of the show is not completely memorable, and suffers from a seriously lagging first act. The show could do with an incisive revision, ala its cartoon counterpart You’re a Good Man Charlie Brown, and do away with the entire section featuring the Ling circus of crime: this plotline just feels icky as it channels racial stereotypes that should really be put to pasture. In spite of it, our ensemble truly impress with gymnastic routines, especially considering the cramped quarters on stage.

Director Randy Smartnick has handled this kitschy piece of obscure theatre with cleverness and the right tonal sense, using his aesthetic tastes to accent all the right nuances. McPhee’s choreography perfectly navigates the era and the space, reminiscent of the GAP ads we enjoyed around the mid-90s. The backstage band sound tight, and Aaron Clingham’s musical direction excels when the well-tuned harmonies of full-company numbers such as “We Need Him” help the musical take flight.

There are gags for true geeks. A first-act movie clip pairs old b&w reel footage with snips of the Man of Steel score which tickles the funny bone of any fan who obsesses over this material. Also, I found myself laughing alone at a late reference to villain Brainiac, “the most sophisticated brain in the modern world.” I also counted at least seven penis jokes to appease our lower sense.

In summary, All Star’s presentation of Superman hits all the right notes, so give the company some more current material, and then it’s “Up, Up & Away” for all involved!

***Booking inquiries can go to All Star Productions Website***

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Superman Soars on London's Theatre Fringe

After a 48-year wait, London's All Star Productions is debuting composer Charles Strouse's Broadway musical, It's a Bird, It's a Plane, It's Superman at London's Ye Olde Rose and Crown Theatre. Until 22 March, 2014.

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