Review: ‘Savoy! Everybody’s Doing It’ at Phoenix Arts ClubReview: ‘Savoy! Everybody’s Doing It’ at Phoenix Arts Club Overview ‘Savoy! Everybody’s Doing It’ is a lively musical that blends elements of “Chicago” and “Cabaret” with a Fringe budget. It features witty wordplay and catchy harmonies, but some anachronisms and story decisions may leave audiences confused. Characters and Plot The show follows two couples with relationship issues in 1920s London. Julia Joy and Will Thompson-Brant are established but facing different aspirations, while Karel Blyth has his eye on his boss, Jess Ryan. The couples’ stories intertwine, narrated by the omniscient Kilke-Jan, who claims to be able to read minds. Technical Aspects The set is simple, consisting of five wooden chairs in a French bistro style. A large video screen effectively signals scene changes. Samuel MacDonald’s musical direction is excellent, featuring operettas from the 1920s and 1930s. Acting and Performances The cast members deliver excellent performances with strong characterization and excellent vocal abilities. They seamlessly interact with the audience, further showcasing their improvisational skills. Strengths * Great characterization and harmonies * Clever wordplay * Energetic performances Weaknesses * Confusing anachronisms (e.g., discussing texts and videos in the 1920s) * Unclear motivations for the narrator’s meddling Overall Despite a few inconsistencies, ‘Savoy! Everybody’s Doing It’ is an enjoyable and engaging musical. Its talented cast and clever wordplay make it a worthwhile experience for fans of musical theater. Rating: 60% (Good)
There is much to like in Savoy! Great characterisation, great harmonies, lots of laughs, but there are also a few things that confused me. The show has a Chicago meets Cabaret feel, but with a Fringe budget. The use of the large video screen is effective in signalling scene changes, with the set simply consisting of five wooden chairs in a French bistro style. After the glorious and atmospheric opening number, we are greeted by the omniscient and whimsical narrator, played by Kilke John. She speaks directly to the audience and claims to be able to read minds – this is the first hurdle…
Judgement
Good
A lively musical with excellent performances and clever wordplay, although some anachronisms and story choices feel out of place.
There is much to enjoy in Savoy! Great characterization, fantastic harmonies, lots of laughs, but there were also a few things that confused me.
The show has the atmosphere of Chicago Meets Cabaretbut on a Fringe budget. The use of the large video screen is effective in signaling scene changes, with the set simply consisting of five wooden chairs in a French bistro style. After the glorious and atmospheric opening number, we are greeted by the omniscient and capricious narrator, played by Kilke-Jan. She speaks directly to the audience and claims to be able to read minds – this is the first bump in the road for me, I felt it didn’t work. There are clearly some very pleasant audience members who go along with the interactions, but I’m not sure the specific ideas regarding infidelity are well chosen – they’re also exclusively heteronormative.
John then introduces two couples with relationship problems. Julia Joy And Will Thompson-Brant are an established couple who want different things. Joy is a musician who would rather write a hit than settle down in marriage. Karel Blyth has an eye on his boss Jess Ryan but is too nervous to say anything without a nudge and a flashback from the all-powerful narrator. What follows are fragments of their stories and the ways they intertwine, along with the narrator’s meddling—she doesn’t just want to tell the story, she wants to manipulate it and be a part of it. The real reasons for her actions aren’t revealed until the end.
The stories work well, but some of the references are confusing. The couples appear to live in 1920s London and so telegrams are sent and received, often typed on a typewriter (the only prop). It’s cleverly used in the same way a modern-day couple might be seen on their smartphones, tapping away, half-listening. This is a nod to the current works and more could have been made of it, but there is a point where the characters discuss exchanging texts and videos – this bump takes us out of the 1920s and feels out of place. So was the Nokia Ringtone! This was to let the narrator know that they were getting a phone call, which would have been fine if the character making the call wasn’t in the Savoy. Speaking of which, the Savoy was a place that was the focal point of the interwoven storylines, but it’s also used as a euphemism (everyone does it) and as a dance with accompanying song. It’s a clever play on words, which again fits the 1920s.
Another highlight is the songs. In some ways this show could be called a gramophone musical, as it uses operettas from the 1920s and 1930s, played by the show’s musical director Samuel MacDonald. These fit perfectly with the stories. Not only does Macdonald play brilliantly, he was also included in the cast, as there are no walls in this production. Several times the cast enters the audience space with interactions facilitated by John. This further demonstrates the skill of the cast: great singers and performers with strong characterization who can ad lib and improvise. And there is not even time to mention the tap routine!
There are still some adjustments that could be made to make it a fantastic show, but I nevertheless thoroughly enjoyed these 75 minutes in the company of some very talented and hardworking artists.
Music by: Imre Kálmán, Jenő Huszka, Szabolcs Fényes, Pál Ábrahám, Ferenc Lehár, Samuel Macdonald
Writer and Director: Julia Joy
Deputy Director: Will Thompson-Brant
Musical direction: Samuel Macdonald
Creative producer: Norbert Potornai
Production by: NP&JOY Entertainment
Savoy: Everybody’s Doing It was discussed at a preview show in London. It is now playing at EdFringe until August 25. More information is available here.
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