Roman Holiday might appear like just another taxicab off the rank with regards to musical adaptations of classic films, but Cole Porter’s charming and complementing numbers present a heart-warming, summer spectacle at Theatre Royal Bath.
The musical has of course been around since the beginning of the millennium. None of the three significant productions prior to this staging at Theatre Royal Bath have exactly punched through—Missouri, Minnesota and San Francisco being the locations. Nevertheless, this version is a far more stripped-back attempt, with fewer numbers in addition to a punchy two-hour runtime. The book, written by Kirsten Guenther and Paul Blake, has also had a makeover.
If you did not know already, the 1953 film is mostly responsible for rocketing Audrey Hepburn’s to worldwide stardom. It earned her an Academy Award and possibly Julie Andrews a shot at playing Eliza Doolittle in the film adaptation of My Fair Lady. Speaking of which…
Fresh from touring My Fair Lady as Henry Higgins, two-time Olivier-nominated Michael D Xavier stars as the hard-on-his-luck, American journalist Joe, who is desperate to return back to the high-rise skyscrapers and the hustle-and-bustle that is New York City. Relative newcomer Rebecca Collingwood slips into Hepburn’s diamond-encrusted shoes as heir-to-the-throne Princess Ann, who yearns for an enthralling, normal life—if such a thing exists.
Roman Holiday is a gentle story, an origin to the romantic comedies we are sold in bucketloads today. After Joe’s editor assigns him with a feature piece on the arrival of Princess Ann in Rome, he encounters the royal wandering the Italian capital’s streets on the night before the press conference. As the title suggests, the pair then kick off their figurative flip-flops and explore the ancient city’s attractions.
Francis O’Connor’s set design is concise, utilising Roman windows to showcase Tripadvisor’s top sites to see in the city. A hand-drawn-style map often acts as the backdrop. But it is O’Connor’s costume design that hits the mark, with elegant Roman choices bringing vibrance and an air of 1950s sexiness.
Guenther and Blake’s book offers enough fresh takes to heighten the script for this musical adaptation—a difficult job to find that fine line. Jeremy Sams’s direction, especially of the famous Vespa scene, translates superbly to the stage. The numbers slot in thematically and stylistically, with as much grace as a jukebox musical can offer. It actually allows the script to produce a breath of fresh air in tandem to the music—which is spectacularly delivered.
The film, for many, has an incredible legacy. The Peck-Hepburn combination is certainly a difficult feat to replicate, but Xavier and Collingwood do a stellar job in recreating that chemistry. The singing chops are second to none, with Xavier’s voice piercing through as smoothly as a century-old scotch. He has that Golden Age of Hollywood shine which effortlessly works. It is hard to erase the Hepburn-ness from the role of Princess Ann, but Collingwood is a real gem. Each element to her performance is as delightful and cements herself one to look out for in the future.
The production grows throughout and becomes difficult to take one’s eyes away from the stage. Every component builds a truly fabulous show and ensures a sizzling summer sensation at Theatre Royal Bath, a truly apt choice for Roman Holiday.