Copacabana, The Epsom Players at The Epsom Playhouse.

Reviewed by Tony Flook  (6th November 2003)

Epsom warmed to Barry Manilow's Copacabana at the Playhouse last week. Rightly so. This high-octane production had almost everything - lavish costumes, excellent musicians, first-rate singers in all key roles and talented dancers. All that's missing from Copacabana is a story - and Epsom Players can't be blamed for that!

The show is a throwback to the style of the 1930s - it's attraction is in its glitter rather than its message. Stephen, an aspiring songwriter, daydreams about working in New York's prestigious Copacabana Club, where he calls himself Tony. He helps Lola, the girl of his dreams, get a job as a dancer there and, later, rescues her from the clutches of the evil Rico. No one's surprised that it all ends happily ever after (except for Rico who is, deservedly, shot) or that, when he finally comes back down to earth, Lola is, in reality, his own wife, Samantha.

Director John Taylor and the creative team's imagination was apparent from the outset. They had placed the band at the back of the stage, bringing the audience closer to the action - they realised that the show was worth seeing as close-up as possible.

Costumes, a colourful feature throughout, were worn with flair and were changed frequently and rapidly, particularly by the girls. Choreographer Coral Stodel not only devised interesting routines from tap to bolero to high-kicking but also some eye-catching groupings and tableaux.

The team made full use of the space available but could have used a bigger stage.

Singing was of an almost uniformly high standard. Sarah Jane Smith (Lola) had only one solo spot, the initially slinky, then full-blooded, Man Wanted, but she led group numbers such as the toe-tapping Gotta Be Bad strongly. She was matched both vocally and in footwork by Andrew Robinson (Tony) who showed his skill in Dancing Fool and, in a totally different mood, Who Needs a Dream.

There was excellent support from Pat Bittlestone as the seen-and-done-it-all Gladys who took the spotlight with Copa Girl and from Michael May, the hard-bitten owner of the club, who becomes a reluctant hero.

Paul Falconer was a comic-book Mafia figure (attended by Lewis Wilmott as his suitably heavy heavy) and Valerie Carr drew sympathy as his ageing, soon-to-be-discarded mistress.

Colin Warnock and the orchestra entered fully into the spirit of the show but, despite being dominated by brass, rarely overshadowed the vocalists. Steve Bittlestone's lighting emphasised the atmosphere of every scene.

(Taken from icsurreyonline.co.uk)