The Roar of the Greasepaint, The Smell of the Crowd

Leslie Bricusse and Anthony Newley’s 1965 musical draws on music hall traditions and mid-century concerns about class struggles to provide an enchanting muse on the nature and morality of social customs. The songs – ‘The Joker’, ‘Who Should I Turn To?’ and ‘Feeling Good’ – are familiar to many, however Tom Crowley and Meg Henry’s production boasts much more besides.

Crowley’s stylistic set provides a beautiful atmosphere. Walls are plastered with manuscript cuttings and Buster Keaton photos, surrounding a traverse stage. At one end sits musical director James Oliver’s five-piece band, as tight as the sharp suits worn by its members. The ‘game’ of life that drives the plot is depicted by a question mark-shaped hopscotch leading to a podium.

The game’s ever-expanding rulebook segregates its uncharitable creator, Sir (Dan Wood) and his victim Cocky (Chris White), who trade insults and schemes throughout the piece. The two leads clearly relish their roles; Wood paces around the stage with his iconic walking stick-cum-seat, consistently outsmarting White’s downtrodden working-class everyman, who is denied opportunities to make a career. Wood’s stage presence is marked right from the off, yet as Cocky’s confidence grows, White displays his impressive versatility, particularly in the fantastical sequence that accompanies ‘This Dream’. As the Girl (Rosie Fletcher) sparks Cocky’s imagination, White alternates between love-struck balladeer and determined, cheeky youngster.

Wood’s interpretation of Sir is evocative of silent movie heroes – his accent, ticks, mm-hmms, and facial gymnastics illuminate the character – and he joyfully manipulates the script for maximum laughs. Both actors handle their songs well, creating an engaging and captivating cabaret. My musical highlights were ‘Where Would You Be Without Me?’ and ‘Sweet Beginning’, in which the band complemented the performance without detracting from it.

A strong supporting cast includes the Kid (a wonderfully understated Veronica Hare) and four children (Greg Ebdon, Henri Ward, Heather Wilmot, Daisy Bunyan) who are swept up in Sir’s game. Unfortunately, there are several flaws in the production that belie the cast’s efforts. Chief among these is the lighting, which varies little and is often at odds with the positioning of the actors. For a large part of the play Wood stands in one spot, and not once could he be properly seen under an unhelpful white wash that landed on his top hat rather than his face.

Worse still, many of the play’s most powerful moments – such as the Kid’s defection to Cocky’s ‘team’ and Sir being left alone with his obsolescent game – take place in dim light. There are occasional lighting decisions which are very effective (when White mimes drawing a gun during ‘My Way’, for instance) but for the most part, the design seems ill thought-out. Secondly, the music is delivered with consistent articulation, but too often tone and pitch are sacrificed. White’s talented singing voice is obscured by his unflinching Cockney accent at several instances.

It is worth mentioning the exceptional costumes in Greasepaint. A creative team led by Bunyan should be proud at how much the outfits add to the feel of the piece. This production also includes a sure-fire contender for Best Ever Drama Barn Cameo in a Dress…

Overall, The Roar of the Greasepaint, The Smell of the Crowd is highly commendable in theatrical and musical direction, performance, staging and appearance. A little more attention to the lighting would have improved it drastically. Still, I thoroughly recommend heading to the Barn to be absorbed into this absurdist music hall spectacle.

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