A Jew, a Colonel and a Nazi walk into a circus. This is not a joke. This is ‘The Grand Tour’.

emilylouisehardy
Jan 8, 2015
3 min read

By J Sydney-Leigh

The Grand Tour has arrived in London. It is the 1979 wartime musical, adapted from the original play Jacobowsky and The Colonel, by Franz Werfel. The music and lyrics are the work of Jerry Herman, famed for Hello, Dolly! which became the longest running musical of its time. Showing at The Finborough Theatre for a limited run, The Grand Tour is an energetic revival of Herman’s lesser-known work, but despite the catchy score, it is clear why this musical has been somewhat forgotten.

The year is 1940, and the narrative follows Jacobewsky, a Polish Jew who keeps one step ahead of the Nazis in his efforts to escape persecution. His journey across Europe collides with that of Stjerbinsky, an anti semitic Colonel on a mission to deliver a classified list of names that will form a Polish government in exile. Forced through undeniable convenience to travel together, the pair form a double act of polar opposites. Whilst Jacobowsky [Alastair Brookshaw] is determinedly optimistic and resourceful, Stjerbinsky [Nic Kyle] is paranoid, haughty and receives his companion’s attempts at humour with severe contempt. A love triangle is thrown into the mix when Marianne, Stjerbinsky’s fiancé, joins their perilous journey and immediately warms to her new Jewish joker. All in all, it is an entertaining yet breezy narrative that is ill served by out-dated stereotypes and an increasingly ridiculous plot. It is reminiscent of a Jules Verne adventure with an SS Captain thrown into every chapter.

Herman’s colourful score saves the day with a few memorable solos and energetic chorus numbers. Brookshaw sings ‘I’ll be here tomorrow’ with endearing fragility and a sardonic tone that offers a beautiful depth to his character, whilst Kyle’s ‘Marianne’ is an affectionate offering of the Colonel’s softer side. Unfortunately, while the musical numbers serve interesting shades to the characters, the dialogue hampers. Zoe Doano has a stunning voice as Marianne, and similarly, her ‘I belong here’ solo is an indication of defiance that seems forgotten when the song ends, and she loses her character to flattery and massaging the egos of her male companions.

Phil Lindley’s set design is a remarkable use of the tiny stage, as set pieces are pulled from the flooring and a map of Europe on the back wall opens to reveal further locations. Cressida Carre is also accomplished in her spatial choreography, with a particularly inspired circus scene that uses levels and illusion to showcase the lively performers. Thom Sutherland’s production is a visual and vocal success, but his direction craves more emphasis on the musical’s threatening context. The on cue appearances from the trigger-happy SS Captain, played by Blair Robertson, serve as a reminder that death is on the doorstep. However, with the pressure of representing the entire SS army, he was disappointingly unthreatening and I was left unmoved by the casualties at his hand.

The Grand Tour is a twee wartime rom-com that may lack emotional gravitas, but the talented cast and pleasing score make for an entertaining evening none-the-less.

★ ★ ★

Danielle Tarento presents ’The Grand Tour’

Finborough Theatre

Music and Lyrics by Jerry Herman

Book by Michael Stewart and Mark Bramble

Based on the play Jacobowsky and The Colonel by Franz Werfel as adapted by S. N. Behrman

Directed by Thom Southerland

Musical Director/ Orchestrations/ Vocal arrangements – Joanna Cichonska Choreographer – Cressida Carre

Set Designer – Phil Lindley Producer and Casting Director – Danielle Tarento

Photo credit – Annabel Vere

1st January - 21st February 2015

Tues - Sat 7.30pm | Sat and Sun 3.00pm