Songs by Nacio Herb Brown and Arthur Freed

Directed by Freya White

Produced by Claudia Moya Gil

Choreography by Rosalyn Harper

Review by Dominic Corr

Tickets available here

It seems everyone is here to see the stars this evening; friends, family, colleagues, strangers, and, of course, the press. But the stars we’re seeing aren’t the legendary Don Lockwood or Lina Lamont of Singin’ In The Rain fame, but rather the exceptional versatility and grit of the Edinburgh University Savoy Opera Group, who smash their valiant take on one of musicals’ greatest and everlasting.

The 1952 film, starring Gene Kelly and Debbie Reynolds, a gold standard of the Hollywood musical, found a resurgence in the eighties as a Westend production before going on to endless tours and stagings which re-captured the quaintness of its romance, cheerful grins, and spectacular showstopping music and showtunes. We’re no longer in Edinburgh, as EUSOG’s minimal set-dressings but style, live band, and clever props and staging whisk us to California – as the media gather to see Lockwood and Lamont, stars of their time, on the premiere of their new film – but the advent of the ‘talkies’, motion picture with sound, spells potential success for Lockwood, and ruin for the antagonistic Lamont.

Capturing an ounce of the charisma and notoriety which comes with Kelly’s performance is an achievement, so for Ewan Robertson to step into the leading role, with plenty of guidance and trust from director FreyaWhite, leads to strong foundations for the show. A strong voice and a rounded personality fit the role well – and keep the character from the shades of outdated attitudes. With an equally strong voice, though in very different ways, Amelia Brenan’s Lamont is as shrill, vindictive, and as much a starlet as the role decrees. With comedic timing that captures the audience and a snappy partnership and chemistry with Robertson and Elham Khosravipour’s Zelda Zanders, Brenan nails every moment on screen – including some brilliant moments as part of the show’s use of filmed footage, Leon Lee’s sound design and Freya Game’s lighting transforming the stage to a cinema and back again.

The cheeky, chappy energy with which Dan J. Byrant brings an un-matchable wit and charm to the entire evening’s proceedings as hapless in love but thoroughly comedic and rubber-limbed Cosmo Brown – and continues the classical charm and sepia-tinted Old Hollywood charm which Robertson stoked. Together, the pair spark and ignite this energy into something charming. But when the trio is complete with Hannah Shaw’s leading role as Kathy? Well, Good Morning, good evening, and good night, all – what a treat this talented trio becomes, balancing one another’s shortcomings and enhancing the strengths.

Elegant, understated, but far from a wallflower – owning every spec of the stage (even when ‘downplaying’ the role), Shaw is a credit to the show, utilised incredibly well by Rosalyn Harper’s choreography. It is a monumental task, tackling a show like this, and having the guts and cunning to not only adapt and alter the numbers which wouldn’t work to their fullest on the Pleasance stage but to ensure the entire cast has select moments to shine and demonstrate their singular talents and abilities. And while tap dancing might not make much of a showing when it does? Exemplary. Full of confidence, and remarkably in time with the scoring – a brilliant cross-combination from Harper and Evie Alberti and Sebastian Schneeberger’s musical direction and the determination of the seventeen-strong live band.

There’s a note-worthy commitment from the team to maintain every element of the production, much to their benefit, but also to the show’s minor detriments, particularly with the pacing. Running at over two and a half hours, with a lengthier first act, and an ambition to include as many side-roles and players as they can in this communal event, Singin’ In The Rain certainly showcases the entirety of EUSOG to its outstanding lustre, but it could certainly benefit of draining some of the excess water which bogs it down a little, and a few of the ensemble cast members make sure their parts are noted – occasionally at the cost of the shows atmosphere.

So, while the rain may be pouring something fierce through the weekend, please brave the winds and catch some sunshine peaking through the clouds at the Pleasance Theatre. Singin’ In The Rain: inventive and charismatic, it captures all the energy and appeal of a big-budget touring show but has the knack of a dedicated team who meet audio issues and opening night teething with a professionalism that is enviable by any grassroots in Edinburgh: ambitious, bold, and puts each toe-tapping foot in the right place.

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