Rags The Musical
Park Theatre, London Until February 8, 2hrs 30mins
Heard the one about the hammy socialist actor who told his friends on Election night: ‘Luvs, Labour’s lost’? In the programme, the director (Bronagh Lagan) writes that this 33-year-old musical – about Jews arriving in New York in 1910 – is relevant because of the anti-immigrant propaganda currently ‘flooding our media’.
But is that really true? It’s a show – a sort of sequel to Fiddler On The Roof – that warmly embraces Jewish life. If Rags has any value today, it’s as a two-fingered good riddance to Corbyn and the antisemitism of the fascist Left.
The score is by Charles Strouse (Annie), lyrics by Stephen Schwartz (Godspell and Wicked) and a book by Joseph Stein (Fiddler On The Roof) and updated by David Thompson.
In the programme, the director writes that this musical – about Jews arriving in New York in 1910 – is relevant because of the anti-immigrant propaganda currently ‘flooding our media’
But it flopped disastrously in 1986 because there are no hit songs and because it all feels too predictable.
The action follows the impoverished seamstress Rebecca Hershkowitz, who arrives at Ellis Island with her ten-year-old son. They are taken into the poor home of the benign vendor Avram (Dave Willetts), and Rebecca soon finds herself romantically torn between a big shot in the rag trade and a passionate union agitator.
Carolyn Maitland’s forcefully sung heroine – you occasionally need ear defenders – is central to a plot that never really rises above the trite, with Martha Kirby as Bella, the show’s young love interest.
Carolyn Maitland’s (above with Alex Gibson-Giorgio as Saul) forcefully sung heroine – you occasionally need ear defenders – is central to a plot that never really rises above the trite
But the score has its rewards, performed here by a four-piece Jewish Klezmer band incorporating ragtime and blues. Three Sunny Rooms is a slyly funny courting duet between Rachel Izen and Willetts.
There’s a promising scene at the theatre where a Yiddish Hamlet – called ‘Hyam-let’ – is playing, that occasions the song Hard To Be A Prince. What Mel Brooks might have done with that number!
It’s a cosy, politically righteous, occasionally weepy affair, with some elegant couture by designer Gregor Donnelly. It’s not utterly without interest, but I’m afraid Rags is simply short on riches.
Once
Fairfield Halls, Croydon Touring until July 25, 2hrs 40mins
Rating: 
Once, the 2007 film, was a surprising hit for something so low-key and lo-fi. But its gentle story about two heartsick musicians – he Irish, she Czech – who meet and record his songs in Dublin was obvious fodder for a stage version, with a folksy soundtrack by Glen Hansard and Markéta Irglová, stars of the original movie.
Peter Rowe’s crowd-pleasing touring revival fills the stage – a cluttered, convincing Irish pub – with actor-musicians, and the larger and livelier the number, the more it stirs the heart.
But the leading man’s lovelorn ballads can sound a bit drippy, and Daniel Healy is terribly earnest as the nameless ‘Guy’. In too sharp contrast, Emma Lucia’s blunt, optimistic ‘Girl’ is perky and quirky, in an underwritten part that makes her feel occasionally like a plot device for saving a wounded artist.
Peter Rowe’s crowd-pleasing touring revival fills the stage – a cluttered, convincing Irish pub – with actor-musicians, and the larger and livelier the number, the more it stirs the heart
If the film was notably understated, in general this production feels turned up a bit bright: neither the comedy Irish fellows who join the pair’s band, nor the Girl’s Czech friends and family manage to swerve some national stereotypes.
But the show has a good, warm heart, there are moments of touchingly staged intimacy, and it effectively stirs a rousing feeling – and toe-tapping rhythm – in the best of the songs.
Holly Williams