Singin’ in the Rain Review – A high-energy production of unapologetic joy | stage

RAz Shaw’s exuberant production of “Singin’ in the Rain” begins with nothing on stage but a coat and hat. They belong to leading man Don Lockwood (the charismatic Lewis Gaunt), who does a quick dance before ignoring them and transforming into his movie star persona. Immediately we arrive in Hollywood, a world obsessed with appearances.

It’s a fitting start to a musical that pokes fun at the gap between reputation and reality. There’s Don, whose pre-Hollywood career conflicts with his public image, and whose self-importance is quickly mocked by aspiring actress Kathy Selden (Carly Mercedes Dyer). Opposite him, co-star Lena Lamont’s on-screen charm belies her booming voice, delivered here with blatant relish by Laura Baldwin. The arrival of the talkies leaves the studio scrambling to save face, with amusing if familiar consequences.

This release hits all the major beats with crowd-pleasing confidence. Everyone, of course, is waiting Which The number — and the creative team knows it. When Don finally begins tap dancing in the pouring rain before the interval, Gaunt teases the audience with him, playfully threatening the spectators in the front row with the tap of his umbrella. It’s a smart way to approach this special moment: letting us all get in on the game.

This is a feature of Shaw’s production, which – like his 2018 revival of The Producers – plays to the strengths of the Royal Exchange’s interior space. Audience members are heavily involved, whether they are fans of the films, accomplices in Cosmo Brown’s shenanigans (a comedic highlight in the hands of Danny Collins), or those close to the angry Lena. With a relatively small cast, the action is carried through by the excellent set and high-energy choreography from Alastair David.

The Stock Exchange’s recent Christmas specials have often had a more whimsical or topical flavour, whether that’s last year’s Spend Spend Spend or 2022’s musical retelling of the life of Betty Boothroyd. By contrast, the approach this year is one of pure joy. As a respite from the deadly scrolling, it feels necessary and contagious. By the end, resistance becomes futile.