Kipps: The New Half A Sixpence Musical

The 1963 musical based on H G Wells’ 1905 novel has been given a deeper treatment in this 2016 updated version by Julian Fellowes, who is well known for his grounded and authentic period writing such as Downton Abbey. The result is a more rounded and better presented musical which still has a feel of the old-fashioned, being set more than a century ago. As such it is likely to appeal to audiences seeking a good traditional musical as well as give people something to think about beyond the childhood sweetheart love story at the centre. Taking on a classic, with its famous songs and set pieces plus a big ensemble cast is a challenge, as audience members will have their expectations: but Burgess Hill Musical Theatre Society are exceptionally skilled and not only do they rise to the challenge, but they shine like diamonds at it.

There is so much to love about this whole production. It opens with moving sky projections transporting you to outside, with the two leads playing themselves as younger, sharing the half a sixpence of the title and first song. The staging continues to move throughout the production, as mainly bare which is perfect, creating all of the places in the show with seamless ease including projected moving or static backdrops. It’s beautifully modern in staging, bringing on a door rather than the whole walls and room – when the door is actually all that’s needed. Where crew are bringing on items they do it as extra characters or have the appearance of servants, which works very well in this: for example bringing in a chaise longue for the Walsinghams’ home or a table at a café. A promenade is created at the back with old fashioned lampposts with working lights, and in one scene a free standing extra lamppost with working light is brought on. The lights dim to accommodate night, and the lighting design helps to create the mood of all the places in the production: you know when you’re in a garden party, or in the evening indoors, or having less lighting in the workers dorm. It holds everything beautifully and effortlessly so that even when there is a follow spot, it isn’t obvious enough to distract. Sound too is seamless: from the individual mics to the levelling out of music versus voice to added extra ambient sounds plus instruments played on stage. Costumes are all amazing and in keeping, everyone completely looks the part with hair and makeup as well. Helen Walsingham’s dresses would cause costume envy among owners of dressing-up boxes. The transformation on the stage of poor Arthur to rich Arthur is done incredibly well: including the rich colours, and of course shoes.

It’s the singing, dancing and acting that makes this whole production so very special. First time Choreographer Jen McLean has managed to capture the talents and skills of everyone in the cast while also paying a lovely homage to the original musical by incorporating classic choreography with modern shapes and twists. The result of this fusion is really super. The shapes they make as they move into formation are truly wonderful and they have all been drilled to within an inch of their lives: everyone knows their place, and the formations keep changing, giving everyone in the company a chance to shine in the front row. It’s a really lovely touch to be so fair and spread the limelight. All of the singing is amazing as well: from the solos and verse each songs to the big company pieces with lovely harmonies. There is not a pitch out of place, it all works beautifully. Musical Director Rebecca Dowden has done a super job with the live orchestra, the singing, and the extra instruments played on stage during one scene in particular, where the actors play the instruments while acting in the scene. Beckie Mayes as Ann has a powerful heartbreaking solo which she delivers with such emotion: there were tears in the eyes of some of the audience. She, Anna Coote as Flo and Becca Mowforth as Helen all have stunning yet different voices, such a pleasure to hear. Jonathan French has such a rich classic tenor voice it’s simply delicious to listen to.

There is no weak link in the play at all – everything works to an exceptional standard. The cast are universally good. Beckie Mayes brings a tomboyish sweetness to Ann, something that carries through to her adulthood, having to have grit to survive in this class system. Anna Coote’s innuendos as Flo are hilarious, her singing and not even being out of breath while skipping at one point and doing a cartwheel in another moment is an achievement indeed. Becca Mowforth plays Helen with depth, making the audience sympathetic to her whereas she could otherwise be the stuck up posh lady taking away our hero from his true love. Helen Mullany is simply hilarious as Mrs Walsingham who believes her lot in life is to have money when she has done nothing to earn it: another character who it would otherwise have been easy for the audience to detest, but her portrayal enables them to see the sadness behind this character and to feel sorry for her. Jonathan French is lovely as Chitterlow, the stereotypical actor who he manages to portray without making the character so overblown as to be unbelievable. Jack Jackson-Humphrey brings out the humour in revolutionary Sid, while giving him depth of character in his love for his sister, and in one song shows his lovely falsetto voice. Billy Kirwan as the flamboyant photographer is guffaw funny, just what’s needed at that point – he also plays the shop-keeper but unless you look in the programme you would not know, as he plays them so differently. It’s truly wonderful to see such superb acting as well as dancing and singing: it’s unusual to see so many triple threats on one stage in one production.

Saving Aaron Ramsden’s incredible portrayal of the clueless, innocent and naïve Arthur Kipps to last in order to laud it from the rafters: his portrayal has such incredible joyful energy filled with wonder at the world around him. As a modern audience even if you’re not familiar with the plot, you can spot a mile away that gullible Arthur is being manipulated by James Walsingham - Philip Hawkins playing the character that the audience loves to hate here very well. But Aaron’s portrayal makes him sympathetic, rather than pathetic; an acute difference. Being very tall and slim he adds a long legged clumsiness to the character which is charming. He is rarely off the stage, being the driving energy of the whole show, smiling even when fortune doesn’t smile: he is the quintessential Polyanna, making the character of Kipps very lovable. His singing is wonderful, he plays the banjo on stage, he dances and tap dances in the tap routines incredibly well: his energy is infectious and you can’t help smiling at the whole show that he leads so effortlessly and beautifully. An incredible, wonderful, star worthy performance.

There are so many moments that stand out: the tap routines which are so brilliantly done, there is not a step out of place, everyone is in sync. Dances choreographed with throwing and catching parasols, throwing massive flat folds of fabric and Kipps catching them all on top of each other – all while the song is being performed, a brilliant routine choreographed with spoons being played on each other, including shoes: and they are all played in time as well, as music. Dancing on top of an upright piano and falling off it backwards and being caught is another moment, and the slow build in the ‘Flash, Bang, Wallop!’ song at the end, with a whispered chorus building to a crescendo – superb.

It shows on every single person on the stage that they adore being there and being part of this production. The energy they all have is incredible. Director Tracy Glover has done an incredible job of bringing out the absolute best in each and every person involved in this, helping everyone to create a truly wonderful show, which is not just of a professional standard but of an incredibly high professional standard. Absolutely first class super brilliant job to every single person in this show for a flawless production.

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