The Emperor's Clothes

I was filled with excitement and trepidation in equal measure on my way to watch “The Emperor’s Clothes”. Not because it is an unknown musical, that is exciting on many levels, but because I was involved in creating one of the roles in this musical’s first outing before it was shaped into its current form. What would be the same? What would have changed? How would I feel about it?

"The Emperor's New Clothes" is a literary folktale written by Danish author Hans Christian Andersen, about a vain emperor who gets exposed before his subjects. In this new musical imagining we are introduced to a town of people who are told by a pair of sibling con artists that only “intelligent, brilliant and attractive” people can see the cloth that they produce. Obviously, the Emperor must have some. But what is nice with this version is it also asks whether our outward appearance is really so important, and that we should learn to see life from other people’s perspectives, have the courage to speak the truth and seek forgiveness when needed.

Entertainingly directed by the show’s author David Bedford, this musical was visually appealing and vocally stunning.  The mannerisms and characteristics that each individual member of the company displayed, whether a main role or a member of the Empire, were well thought out and it enabled the audience to quickly get to grips with the characters and the overall visuals. The set, a little simple for the space, was well used throughout. I especially liked the way the giant wardrobe was used. Lighting enhanced the scenes and songs appropriately and created the extra atmosphere when needed. Scene changes were a little slow but that could just be a symptom of seeing the opening night’s performance

The three-piece band, who were ably led by the show’s composer and lyricist Phil Hornsey, were excellent, creating the sound of a band three times their size. Many of the chorus numbers were sung so superbly that they raised the hairs on the back of my neck.  The choreography was easily accessible by all and if at times a little crowded, all the cast worked hard to execute the routines accurately.  A special mention must go to the costume team.  It cannot be easy creating that many individual character costumes let alone finding that many shades of yellow.

This was truly an ensemble effort from start to finish and not a single performer let the side down at any time. Any performers I don’t highlight should be in no doubt that this is not intended in any way to suggest you were anything short of excellent.

I liked the sibling relationship between Luke Humphries-Paige and Amelia Hogben as the Brother and Sister. They worked really well together as a team and sold their choreography well. Their harmonies were tight and their character well-rounded.

William Cooper was great as the Treasurer showing the right amount of disdain for everyone and showing off a strong vocal. Mariah Young was very entertaining as the Wardrobe Mistress. She had a brilliant energy and gave a good character performance.

Toby Smith showed what an accomplished singer he was. He had a great stage presence and a childlike quality that would certainly appeal to the younger audience members. Daisy-Mae Hewett did well as the Laundress and Rob Dunk, Pat Nutter, Maddie Parker and Angela Bowden certainly enjoyed themselves as the Fashionistas.

I would also like to mention Leanne Hardy-Wall as the Builder. No matter what this actress was doing she was invested throughout.  A real masterclass in bringing a character to life.

The Cobbler was played by Grace Newton.  Grace commanded the stage every time she came on.  She performed with conviction showing great skill and stage presence.

Grace’s vocals were outstanding!  Her rendition of ‘A Thousand Footsteps’ was nothing short of perfection. Both Grace and this song were the highlight of the show.

As an ensemble piece I adored the commitment to characterisations and the core strength that the company all had to create their characters.  The vocals were very strong and I’m excited to see Canterbury Operatic Society embracing a diverse range of musicals in the future.

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