It's always satisfying when the Fringe circuit supports the
staging of small-scale musicals; specifically when the musical is receiving its
European premiere. The Finborough Theatre's production of Jerry Herman, Michael
Stewart and Mark Bramble’s 1979 musical, ‘The Grand Tour’ was one that enables
you to see how a musical about the Nazi revolution can inform an audience, in
addition to this, the performances were agreeable, over the duration of the
show.
‘The Grand Tour’ is set in France 1940 during the rise of the
Nazi regime, where worried Polish citizen Jacobowsky is fleeing for his life,
but when he is introduced to the pretentious Colonel Stjerbinsky, he recognises
that he too is escaping from the Nazi’s, due to the fact that he will be forced
into transferring his services to the Nazi party, which she does not want to
do. At the beginning, the connection between them is quite uptight as they come
from opposite class systems, and when Jacobowsy is acquainted with the
Colonel's fiancée, Marianne (Zoe Doano) is besotted by her appearance.
Nonetheless, on their journey hiding from SS Captain (Blair Robertson) we see
the blossoming friendship of the three of them, as they go on a quest to escape
the dictatorial powers of the Nazi's. To remain undetected from the captain,
they cordially ask a travelling circus act, led by Madame Manzini (Lauren Dougal)
to imitate specific circus acts such as a ‘Barnum’ inspired high-wire performance,
she politely agrees. The captain is soon hot on the heels, and cruelly
assassinates those who conspire against the Nazi party system. Unfortunately, when Jacobowsky realises that his
new friend's papers are in his possession, he strives to return them, he then
becomes involved in a Jewish wedding ceremony, which needs to be undertaken as
the Nazi forces are advancing enormously. When he is reunited with Stjerbinsky
and Marianne, there seems to be a clearly established bond which conveys the
progression of friendships on different class systems. Stewart and Brambles
narrative is of suitable standard, in terms of how we observe how freedom of
expression should be respected, but some of Herman’s music and lyrics; such as
musical numbers, “Do It For Poland”, “You I Like” and “I’ll be There Tomorrow”
did not exactly make one remember them easily.
One found the performances by the company of ‘The Grand Tour’
were immensely pleasing to watch, and sung superbly too. Alistair Brookshaw as
delightful as the central protagonist, Jacobowsky; particularly when he sacrifices his decision
to travel to United Kingdom, so that is newly found friends can quickly get on
board a boat without arousing suspicion from border controls. Nic Kyle is
gracious as Colonel Stjerbinsky; mainly when he becomes jealous by Marianne's
affections towards Jacobowsky, and makes it clear that he is displeased by this,
and commands that they must stop doing so as it's upsetting him.
Tom Sutherland's direction along with Cressida Carr’s
choreography is appealing here as they have worked with the Finborough’s space to
magnify the trials and tribulations of living in a Nazi dominated Europe, and
how people have to discharge themselves from their home nations to countries of
slight neutrality to wondrous effect. Phil Lindley’s set design and Sophia
Simensky’s costume designs are conventional as a limitations of Fringe budgets
for the scenic art and construction lacked finesse slightly, and it was somewhat
discombobulating as to where one was Overall, one found the experience of ‘The
Grand Tour’ to be an enjoyable one, despite the lack of memorable tunesm and
disappointing design. Would recommend it if that's what you're looking for.
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