Death Takes a Holiday, theatre review: Musical romance with a distinctly Gothic flavour

In the last few years director Thom Southerland has established himself as a passionate interpreter of Maury Yeston’s musicals, with fluid and vivid boutique revivals of Titanic and Grand Hotel.

Here he presides over a British premiere of a more recent, more obviously intimate Yeston show — one that draws inspiration from a Twenties play that was the basis of Brad Pitt movie vehicle Meet Joe Black.

When tetchy Corrado (Ashley Stillburn) crashes his car, against the odds his fiancee Grazia is unscathed. Returning to the Venetian villa owned by Grazia’s starchy father, they’re joined by mysterious Russian interloper Prince Sirki — who’s actually Death, taking a break from butchery to consort with mere mortals.

As the Grim Reaper explores the nuances of earthly relationships, we’re treated to a romance with a distinctly Gothic flavour. The book, by Thomas Meehan and Peter Stone, is simultaneously overwrought and undercooked. The characterisation is weak, and there are moments of tonal uncertainty — pathos mingles with a camp humour that prompts some awkward laughter.

Southerland’s focus on the story’s stylish intensity never quite diverts attention away from its inherent silliness. Meanwhile Yeston’s score is luxuriantly tuneful without being exciting, lacking essential momentum.

Yet the production has clear virtues: a handsome design by Morgan Large, Dean Austin’s sparkling 10-piece band, and the lustrous soprano voice of Zoë Doano as Grazia.

Though Chris Peluso as Death doesn’t have huge charisma, his duets with Doano soar. James Gant lends appealing support as eavesdropping family servant Fidele, and newcomer Samuel Thomas impresses, nailing his one knockout number as a major who flew during the First World War with Grazia’s dead brother.

But the most charming song is ‘December Time’, which celebrates mature affection. Gay Soper and Anthony Cable play a couple whose tender feelings emerge from the fog of decrepitude, and their delicate realisation of their bond has an emotional resonance that’s lacking elsewhere.

Until March 4, Charing Cross Theatre; charingcrosstheatre.co.uk

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