Bringing back golden memories for women of a certain age in the audience, of salivating over a young Richard Gere, the bar is set high for this jukebox musical based on the iconic 80s film.
When young US Navy recruit Zack 'Mayonnaise' Mayo meets tough cookie Paula Pokrifki, a factory worker, a love story begins which, like Zack 's professional ambition, is far from plain sailing - but which triumphs in the end.
Based on the original screenplay written by Douglas Day Stewart, the production is very well cast with standout performances from Jonny Fines as the emotionally damaged but determined Zack, Ray Shell as hard-man-with-a-heart drill sergeant Emil Foley and James Darch as the idealistic loser in love Sid, betrayed by his materialistic girlfriend Lynette.
Rachel Stanley as Paula's mum, Esther, and Corinna Powlesland as Aunt Bunny are the perfect embodiment of middle-aged female disappointment with their lot in life, delivering some beautifully raw vocals too. David Burrows as Paula's dad adds a dose of humour with his drunken, comically hostile attitude to his daughter’s new beau.
The singing standard and emotional connection to the lyrics throughout is extremely good but one or two of the numbers could have been given even more welly - you get the feeling the cast are holding back just a little bit sometimes. The score is what makes the show here after all, for who can resist the life-affirming joy of knock-your-socks-off tracks like Blaze of Glory, Heart of Glass, The Final Countdown and I Want To Know What Love is?
The choreography could have been tighter and that iconic ending where Zack sweeps Paula off her feet seems, oddly, somewhat rushed but these are minor flaws.
Okay, it's a love story with a fair amount of cheese but it's a wonderfully feelgood one, with the middle-aged characters' disillusionment with life and love offering an interesting counterpoint to the main action.
Kids in America in particular, slowed down and sung by Darren Bennett as the drunken, washed-up Byron Mayo, is a haunting reminder of the ugliness of war that lies beneath those pristine, whiter than white uniforms.
Michael Taylor’s set design is evocative and adds to the emotion of the whole thing with its permanently restless sea and seedy, neon signed motels. The film used to depict scenes from Zack's past is a clever addition too and contributes to the nostalgic vibe.
All in all, it's a superb production with excellent performances, pulsating with energy and without a dull moment throughout. Fans of the film won't be disappointed.
