I am crazy for ‘Crazy For You’ because this revival was truly a wonder to watch. Enthralling, energetic and heartwarming, writes Bella Christy.
31 years since its debut on a Broadway stage, ‘Crazy for You’ arrives in London to grace the West End. Helmed by the original Broadway choreographer Susan Stroman, she and her team showcase the acclaimed rendition that initially captivated audiences at the Chichester Festival Theatre.
At the heart of this narrative is a story about community. The people of a small town come together to revive their local theatre, supporting and teaching one another. It displays resilience and determination, passion, and the power of the arts.
Now, more than ever, this tale holds great relevance as we emerge out of a time of closed theatres and despairing artists. We can revel with the characters on stage in celebrating the return of our cherished industry: theatre.
The dancing, of course, was the main attraction. ‘Crazy for You’ is truly a dance musical, the choreography was embodied beautifully by the insanely talented ensemble and principles alike. Charlie Stemp (Billy) and Carly Anderson (Polly) profess that this is the most challenging choreography they have ever done. It is easy to understand why, there is hardly a still moment as they seamlessly dance through a multitude of styles including Jazz, Tap, Ballet, Ballroom – the list goes on with more styles than I can even identify.
My standout moment was ‘Shall We Dance?’, a duo between Billy and Polly in act one. Whilst the full production numbers were incredibly impressive, fast-paced and full of excitement, there was something about this slower, more intimate number that had me captivated. It was romantic, private and charming, and the moment we begin to see the central romance take off.
I enjoyed how the set became part of the movement and choreography. The rotating entrances smoothly transformed statues into dancers, and the use of steel slats added another texture to the tap routines. Trays were thrown, kicked, and danced upon, pick axes were used to swing the female dancers around, suitcases created different levels, and of course, the chairs. From school productions to local theatres and West End stages, you cannot escape a chair duo. This one was particularly well crafted, as Charlie Stemp (Billy) and Tom Edden (Bela Zangler) portray drunkenness and heartbreak in a hilarious and poignant comedic sketch.
I did find the high-pitched squealing of the female ensemble in the first act slightly unendurable. Personally, I believe that it does not reflect the way women speak, and should not be a stereotype to continue in the 21st century. However, I must emphasise the presentation of the female leads was tremendous. They were wilful and headstrong, following their passions and hearts to weave a narrative where women ultimately played a pivotal role in saving the theatre and the town.
I must give a shout-out to the audience, I don’t think I have experienced enthusiasm quite like it before. The laughter, applause and glee were rapturous, a standing ovation came after both the first act and finale. If that doesn’t tell you what you need to know, what else will? Get yourself to Gillian Lynne Theatre for an evening of wonder and awe.
Gillian Lynne Theatre, 166 Drury Lane, London WC2B 5PF until January 20th 2024. Times: Tues-Sat 7.30pm; Wed & Sat matinees 2.30pm. Admission: £15 – £165.
Booking: www.lwtheatres.co.uk
