Peter Viney's Blog

Romantics Anonymous
by Emma Rice

Adapted from the French-Begian film Les Émotifs Anonymes
written by Jean-Pierre Améris & Phillippe Blasband (2011)

Directed by Emma Rice

Book by Emma Rice
Lyricist Christopher Dimond
Composer Michael Kooman
Designed by Lez Brotherton

Sam Wanamaker Playhouse, at Shakespeare’s Globe, London

Friday 27th October 2017 19.30

CAST

Marc Antolin – Ludo / Loizeau / Remi
Carly Bawden – Angélique
Philip Cox – Father / Pierre / Receptionist
Joe Evans –  Salesman / Fred / Ensemble / On-stage swing
Natasha Jayetileke – Suzanne / Mimi
Joanna Riding -Magda / Brigitte / Dr Maxim
Lauren Samuels  – Young woman / Self Help Tape / On-stage swing
Gareth Snook – Mercier / Mumbler / Marini
Dominic Marsh – Jean-René

MUSIC

Jim Henson- MD /Piano
Sophie Creaner – woodwind
Mike Porter – percussion
Llinos Richards – cello

Angélique makes beautiful chocolates, carefully infused with all the emotion that seems to overwhelm her in daily life. Jean-René runs a chocolate factory that is running out of steam, rather like his own existence. Both seek help from the usual sources: Jean-René favours self-help tapes and Angélique joins a support group, Les Émotifs Anonymes.

First, most will ask, what is a modern musical doing in a candlelit reproduction Jacobean indoor theatre at SHAKESPEARE’S Globe where the benches without backs are a trial? It’s written and directed by (outgoing) artistic director, Emma Rice with a cast she knows well. Marc Antolin and Carly Bawden were memorable and hilarious as Sir Andrew Aguecheek and Maria in Twelfth Night earlier this year at The Globe (I saw it twice) … as it happens, the third in the Twelfth Night trio, Sir Toby Belch, was Tony Jayawardena, who is in the play we’ve booked for the next day, Young Marx. Dominic Marsh was the lead in Tristan & Yseult at The Globe this year too. Carly Bawden was on my list for best supporting actress of 2017 for Twelfth Night, and after this thoroughly charming performance has to go on the list for best leading actress too.

We had seats in the upper gallery where the candles normally block your view and give you eye strain … but there are no candles! The chandeliers had been removed, though a few candles still flickered at the side. It was electrically lit, though without dynamic lights going up or down or changing colour. They were replaced by neon lighting, appearing with impact to set scenes … hotel, restaurant, Les motifs anonymes group. Neon lights are an Emma Rice hallmark. So it was the Sam Wanamaker Playhouse recast as an intimate modern studio theatre, and it worked. The constant light could be considered daytime, perhaps. I will say that if they’re going to abandon authentic 1610 theatre altogether and do more like this, seat backs would be a good addition. I’ve often wondered why The Globe don’t run The Wanamaker Playhouse all summer, so it is under-used. There is a limit to the “non-Shakespeare” and Shakespeare private theatre plays you can do in a season, so making use of the wonderfully intimate space is a good idea.

Let’s start at the end. It was press night and it had a 100% instantaneous standing ovation from a full house. I’ve never seen that in the Wanamaker Playhouse before, and it is rare in Britain, so with her last play as a director at The Globe, Emma Rice is vindicated. Incidentally she does know how to do an effective ending. Let’s just say it’s all done by wires. I’ve admired everything she has directed herself at The Globe, though I share the doubts of others on some of the stuff she didn’t direct.

The cast list tells you little … everyone except Angelique (Carly Bowden) and Jean-René (Dominic Marsh) played many roles.  It was a fabulous ensemble performance. Everyone comes together in the recurring self help group Les Emotifs Anonymes. 

We were all given a chocolate before the start and told not to eat it until told. The first few lines are in French, then we’re told to eat our chocolates and everything will be simultaneously and magically translated into English. Great idea.

It is a play about two painfully shy people. Angelique created chocolates for Mercier, but when he died she was out of work. She was too shy to admit that she was the great chocolate maker. Jean-René is in trouble. His staff of three are in trouble too. Angelique applies for a job, but is given the job of salesperson, not chocolate designer. Jean-René’s classic chocolates are losing market share, and they finally lose their best and last Italian customer, the operatic Madame Marini. Angelique still won’t admit she is the missing Mercier chocolate maker, and pulls in The Mumbler … the guy who never speaks in the self-help group to pose as the chocolatier. She has dinner with Jean-René who keeps nipping off to the toilet to change his shirt. He worries that he has sweaty armpits. Eventually, Angelique goes off to a conference in Lyon with Jean-René and they’re deliberately booked by his Cupid-playing staff into one room. They delay bedtime, and when they do get to bed, Jean-René chickens out. There is, eventually, a happy ending.

The hotel scene

It’s based on a non-musical film, so the music is all new, and well spaced across the show. They said they wanted a balance of French influence and contemporary musical theatre. They achieve that, though early on the French influence that comes most to mind is Disney’s Beauty & The Beast, but I’m not complaining. The simple acoustic instrumentation from a live four piece is great and makes it sound different. Singing is as good as you can get, with showstopping stunning operatic bits from Gareth Snook as Madame Marini in blazing red wig. Gareth Snook got major laughs as the anorak clad The Mumbler from the self help group too. Both principle actors seem made for musical theatre. They have that onstage chemistry too.

A particular mention for sound effects, often doors. Beautifully timed. A recurring joke is that Jean-René mimes the door to his office to come out to address people. There is much stylized walking up and down. The mimed car with Jean Rene and his three employees following Angelique is classic pantomime, but performed to perfection.

The car chase

It would be a shame if it all winds up in January 2018. I can’t think of a better feelgood summer musical for Chichester’s Minerva Theatre for example … and it’s a space of the right shape. One of the many impressive features is the ability to do choreography with the whole cast on such a small stage. All the movement and blocking is sublime … often it looks like a painting.

It’s running until 20th January so there’s plenty of time to catch it. Try! Yes, it’s a light evening’s entertainment, but as good as light entertainment in musical form gets.

*****

PROGRAMME

Globe returns to previous high standards. An interview with Emma Rice and an interview with the composer.

WHAT THE PAPERS SAID

As it was press night, I saw no reviews before. Hats off to Broadway World for completing their review faster than me! I think I’m the only review that doesn’t resort to bits in French though.

5
Broadway World, *****
4
Dominic Maxwell, The Times ****

Romantics Anonymous will surely have a life beyond the Globe’s intimate playhouse. Yet if you can see it here, do so. It’s an electric au revoir to Rice’s short bittersweet tenure. Dominic Maxwell.

Dominic Cavendish, The Telegraph ****

Only a curmudgeon would find fault with (Emma Rice’s) delectable swansong. It plays to her strengths of melt-in-the-mouth storytelling, showcases some magnifique ensemble work and beautiful retro design.

Jane Edwardes, Sunday Times, ****
Sam Marlowe, The Stage, ****
Holly Williams, Time Out ****
Stephen Baker, Reviews Hub ****
3
Fiona Mountford, Evening Standard ***

EMMA RICE ON THIS BLOG
Tristan & Yseult, Kneehigh, Globe 2017
Twelfth Night, Globe 2017
A Midsummer Night’s Dream – Globe 2016
The Flying Lovers of Vitebsk, by Daniel Jamieson, Kneehigh / Bristol Old Vic

MARC ANTOLIN
Twelfth Night, Globe 2017 (Sir Andrew Aguecheek)
The Flying Lovers of Vitebsk, by Daniel Jamieson, Kneehigh / Bristol Old Vic

CARLY BAWDEN
Twelfth Night, Globe 2017 (Maria)
wonder.land by Damian Albarn, Moira Buffini, National Theatre 2016

DOMINIC MARSH
Tristan & Yseult, Kneehigh, Globe 2017 (Tristan)

GARETH SNOOK
Romeo & Juliet, Globe 2017 (Lord Capulet)