Review: Singin’ In The Rain (Royal Exchange Theatre)

Review by Jack McCabe

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There can’t be many better ways than spending an evening between Christmas and New Year at the theatre, and few venues are more special than The Royal Exchange in Manchester. Their festive performances have become a highlight in the theatre calendar, and this year, audiences are treated to a revival of Singin’ In The Rain. With umbrellas twirling and rain falling, did this production shower the audience in delight, or was it more of a drizzle than a downpour?

Transferring one of cinema’s most renowned musicals to the stage is a difficult task. Singin’ in the Rain, originally released in 1952 and adapted for the stage in 1983, transports audiences to 1920s Hollywood, a time when silent films were giving way to ‘talkies’. The story follows Don Lockwood and Lina Lamont, silent film stars whose careers are threatened by the arrival of sound, in a celebration of love, friendship, and the irresistible joy of show business. At its heart, it is a magical and classy tale which explores how creativity and resilience can help us to weather life’s unexpected storms both on stage and off. 

The Royal Exchange is such a wonderful space with productions taking place in the round, a feature cleverly exploited by director Raz Shaw, who utilises the space to bring a fresh energy to this classic musical whilst honouring its timeless charm. What begins so simply, with nothing but a coat and a hat in the middle of the stage, develops into a spectacle that feels meticulously crafted, intimate, and festive. The audience was engaged from the moment the first note was played until the final bow due to excellent pacing and directorial choices, leading to the almost three-hour-long production flying by. 

It is impossible to talk about Singin’ In The Rain without talking about the dancing, which feels like a character of its own, given its centrality to the production. Alistair David’s choreography captured the essence of Hollywood wonderfully, bringing energy, rhythm, and joy throughout, from both the blockbuster ensemble numbers to the iconic sequences the show is famed for. He balanced high-energy numbers with intimate moments, with some audience members even tapping along the aisles during the interval. The end of Act One is particularly special, if not a bit damp, if you were lucky enough to be in the front two rows in the stalls!

The choreography is elevated by the amazing array of songs written by Nacio Herb Brown and Arthur Freed. This is not a ‘one-song production’ and, in fact, has many highlights, including, of course, the titular number alongside ‘Good Morning’ and ‘Make ‘Em Laugh’, the latter of which was one of the best performances of a song I have seen this year. The songs are a joyous breath of fresh air, blending moments of laugh-out-loud humour together with times of real emotion; it is not a surprise that they have stood the test of time.

The set and costume design by Richard Kent provided a visual foundation for this production, allowing audiences to forget, for a few hours, that they will soon be back at work and, instead, feel like they are immersed in Hollywood, from glamorous film studios to the crowded streets. The costumes particularly perfectly reflected each character’s personality, with Don Lockwood’s dashing and suave outfits to highlight his star quality, contrasted with Lina Lamont’s outfits encapsulating her over-the-top, comedic elegance. The design made this performance feel less like a show and more like an event, elevating the magic to the next level. 

Due to a last-minute illness, the lead role of Don Lockwood was played by Adam Davidson, who perfectly embodied the charm, charisma, and wit of this Hollywood Golden Boy, making him a lovable, funny, and endearing character. His singing is consistently strong, but it is on the dancefloor that he truly excels, electrically executing demanding and wet routines with flair and energy. His chemistry with Carly Mercedes Dyer, who played Kathy Selden, is palpable. 

Dyer’s performance as Kathy Selden is equally impressive. She navigated the range of the character expertly, moving from moments of stubborn determination to softer, more tender scenes revealing warmth and vulnerability. Her singing is impeccable, and she has excellent comic timing. It is an authentic, believable, and charming performance. 

Speaking of charm, Laura Baldwin’s performance as Lina Lamont had the audience in the palm of her hand throughout; she is hilarious and dominates the scenes she appears in with her brilliantly grating voice and exaggerated facial expressions. She leans into the vanity and petulance of Lina with skill and brilliant comic timing, and her performance of ‘What’s Wrong With Me?’  had the audience in stitches. 

Topping off a stellar leading cast was Danny Collins as Cosmo Brown, who is faultless in bringing a sense of joy and mischief to every scene he is in.  His performance of ‘Make ‘Em Laugh’ was worthy of a standing ovation with boundless energy, comic timing, and almost acrobatic dancing. He navigated the physical comedy whilst maintaining such a clear and polished performance. It was a masterclass in combining all that makes a brilliant on-stage performance, and I suspect the audience could have watched him perform that number again and again and again.

This revival is a sparkling festive treat in every sense, leaving a lasting impression after the final bow as it is a production which balances spectacle with intimacy and immerses the audience beautifully, allowing them to laugh, cheer, and even get wet, all whilst being swept up in the charm of a beautifully pitched celebration of film. A strong cast, coupled with brilliant creatives, makes this performance a real festive highlight. 

Singin’ In The Rain plays at Royal Exchange Theatre until 25th January. Tickets from https://www.royalexchange.co.uk/event/singin-in-the-rain/

Photos by Johan Persson