THE BAKER’S WIFE at the Menier Chocolate Factory

Menier Chocolate Factory just celebrated the opening night of Gordon Greenberg’s production of The Baker’s Wife – with music and lyrics by Stephen Schwartz and book by Joseph Stein.

The cast includes: Bobbie Chambers (niece), Mark Extance (the Professor), Josefina Gabrielle (Denise), Jack Gardner (Philippe), Sutara Gayle (Thérèse), Hana Ichijo (niece), Lucie Jones (Geneviève), Bart Lambert (Ensemble), Michael Matus (the Marquis), Norman Pace (Claude), David Pendlebury (Ensemble), Robyn Rose (niece), Clive Rowe (the Baker), David Seadon-Young (Antoine), Matthew Seadon-Young (Priest), Liam Tamne (Barnaby), Joaquin Pedro Valdes (Dominique), Annabelle Williams (Ensemble) and Finty Williams (Hortense).

The arrival of a new baker and his young wife shakes up a provincial French village in this cult musical classic from the legendary Stephen Schwartz (composer of Godspell, Wicked, Pippin) and Joseph Stein (writer of Fiddler on the Roof).

Let’s see what London critics think of the new production…

Photo credit: Tristram Kenton

Mica Blackwell, BroadwayWorld: A charming production that finds sweetness in its bitter themes of infidelity and forgiveness, The Bakera’s Wifea’s message remains timeless. A gentler offering from Stephen Schwartz’s catalog, this immersive show takes you to a bygone era with a phenomenal ensemble that finds heart and soul in its characters. Perhaps the mistake made 50 years ago was trying to bring The Bakera’s Wife to a larger space. In the intimate space of Meniera’s Wife, it’s a real treat.

Dominic Cavendish, Telegraph: While one might have a Gallic shrug at the showa’s unproblematic attitude to its central age gap (endorsed at the sentimental end), it’s harder to shake the impression that the musical augmentation drains the narrative of its rustic authenticity. For all the exhausting accordion playing and warm orchestrations, instead of becoming more atmospherically specific, it all starts to feel touristically generic. And this isn’t miles away from an Allo a Allo!, with a community of types: the local drunk, the moralising priest, the wise professor, the lecherous mayor. They bicker a bit but don’t get excited about a memorable life.

David Jays, The Guardian: Gordon Greenberg’s affectionate production is soggy in the weaker second half. Glazed by Paul Anderson’s golden-yellow lighting, the characterful ensemble includes savvy café owner Josefina Gabriellea and worm-spinning wife Finty Williams: the musical’s dissatisfied women are much better company than their boorish men, and break out in a tango. The baker holds the thread of the story. Clive Rowe is made for optimism – round eyes bright with mirth, voice rich with adoration. It’s horrible to watch him reduced to misery as the light leaves his eyes like a cold oven.

Clive Davis, The Times: The first thing to say about the chamber production by Gordon Greenberg, who has already staged the musical across the Atlantic, is that it is magnificent. The audience, seated on three sides of the troupe, is immersed in a world of pétanque and café-terrace chatter. Paul Farnsworth’s set glows with a Provençal radiance; Paul Anderson’s lighting evokes the feeling of the sun beating down on everyone.

Tom Wicker, TimeOut: This particular show also benefits from the deep knowledge of musical director extraordinaire Greenberg, who previously helmed a critically acclaimed US revival in 2005. Above all, he understands that the romance is only one aspect of the story, and that the most important character is perhaps the village itself. That’s where this production really shines. From the staging that places us on either side of creator Paul Farnsworth’s rustic French fantasy to the way some scenes play out among us, we’re always brought up close and personal with the supporting characters.

Paul Vale, The Stage: Greenberga’s production, with Dustin Conrad’s sensitive musical direction, strikes a perfect balance of rustic charm and sexual tension. It may not yet be destined for Broadway, as many of Meniera’s past shows have been, but it’s a masterful lesson in musical theater for a small stage.

Alun Hood, WhatsOnStage: Currently, Greenberga’s technically ambitious production lacks tonal coherence and sometimes lacks urgency: it feels like it needs a little more time to get going. But with its deluxe cast and lush visuals, this satisfying, delicate confection is already a heady delight.

Greg Stewart, Theatre Weekly: Stephen Schwartz’s music, with its mix of soulful ballads and uptempo numbers, sounds divine under the musical supervision of Stuart Morleya and the musical direction of Dustin Conrada. This revival of The Bakera’s Wife is a delightful treat, sweet without being cloying. It also features a dream cast, the kind you don’t see every day.

Marianka Swain, London Theatre: The irresistible, immersive staging draws the audience in. Paul Farnsworth has filled his French bingo card: the square is framed by lush trees, rickety green shutters and ivy-covered wrought-iron balconies, not to mention cute café tables (where a few spectators sit), men in flat caps playing boules and constant, carefree smokers. Matt Colea’s movements make this tangled ensemble feel like a single character.

Average score: 75.6%

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