The Landor, nestled in the North of the oh-so-trendy Clapham, is a cosy little pub theatre that makes an ideal fringe venue. With the friendly behind-the-bar staff, and witty on-the-door staff, one couldn’t feel but welcome as the evening began with an impressive pub dinner that provided more than value for money. So, with my hunger adequately satisfied, I was ready for the European premiere of the multiple Drama Desk nominated musical The Glorious Ones.

I was initially struck by the rustic Italian set, which was adorned with hanging lanterns emitting a dull atmospheric glow, and accompanied by appropriate mood music. The nominal ‘Glorious Ones’ are a theatre group in the world of commedia dell’arte and theatre of the Italian Renaissance who travel the length and breadth of Italy, performing to the masses in search of fame and fortune. The action centres around, and is somewhat narrated by the founder of this band of merry men, Flaminio Scala, portrayed in this production by Mike Christie, of X Factor and G4 fame. I am informed that this is Christie’s debut musical and unfortunately I must remark that his inexperience somewhat shows. His acting style is a little bit manic, with wide-eyed facial expressions and inhaling sharply through his teeth, which may be more suited to a bigger stage than the Landor. It is the ladies who shine in this production for me; Kate Brennan’s Columbina is humorously and sensitively acted, and her sonorous belt soars above the busy orchestral texture. Jodie Beth Meyer’s portrayal of the diminutive Armanda is witty and constantly engaging. Anouska Eaton’s pleasing soprano voice is perfectly suited to the ethereal Isabella, particularly in ‘The World She Writes’. Christopher Berry is the strongest male, as Francesco, but could do with singing more delicately in duets with Isabella, to avoid drowning her out.

Stephen Flaherty’s score is wonderful, with a myriad of musical influences delicately interwoven throughout. For example, ‘The Journey To France’ has something of Sondheim’s ‘A Weekend in the Country’ about it in structure and tempo. The band accompany impressively throughout.

I do thoroughly recommend this musical, which you could perhaps call a slapstick with serious moments. Unlike most new musicals, it is something of a nod to the classics, which I feel is all too rare these days.

It plays at the Landor Theatre until 7th April – don’t miss out! Book here.

Written by a Thoroughly Modern Man, Mark McCloskey.