Aspects of Love

Still fun after all these years, but there are challenges in producing Aspects of Love. There are many short scenes in different locations over a period of 20-odd-years. Director Jonathan Kent and his designer tackle staging this by using a variety of devices: a sliding screen showing video, two revolves, scenery flown in and wheeled from the sides. All this covers scene changes admirably and gives us a visual diversion. It’s also a distraction, especially when several techniques happen together – watching the set change was often more interesting than watching the performers. There is not much physical action in the story.

The various aspects of love amount almost to a Carry-On: love between younger man and older woman; love between older man and younger woman; love between just women; love between teen and much older cousin. The list goes on but the real problem is that the younger woman, the older woman and the just woman in the list is the same woman and the teen is her daughter by the older man who is the uncle of the older cousin who just happens to be the younger man mentioned at the start. Thankfully, it’s not that confusing as a musical.

Am I cynical in recognising that this production is a vehicle for Michael Ball? Is he worth it?

Yes to both! With tweaks to the show which allow him to keep his big hit “Love Changes Everything” as George, I was concerned. But he delivers it in such a charming, low-key way that it stopped being the showstopper of old and instead was an intimate, thoughtful rumination. His whole performance is a delight, as self-effacing, fatalistic George becomes the heart of the show. It gives Jamie Bogyo a particular challenge as Alex. I could not see why three women would all fall for him. Is it in the writing or does he just lack charisma? Laura Pitt-Pulford ages gracefully as Rose, and makes “Anything But Lonely” the stand-out emotional climax of the show. Beautifully played. Danielle De Niese is impressive as Giulietta, showing power and passion. I would have loved to see her have more stage time. Anna Unwin as the older Jenny presents a delightful playful girl with just the right degree of petulance. I sympathised with the other actors who have so little to do, but do it so well.

“Seeing is Believing” remains as one of the charming songs which recurs throughout a show which is well worth revisiting.

Derek Benfield