As Director of the FBI for almost 50 years, Hoover was the most powerful man in America. Yet behind all the machismo and homophobia was his concealed sexuality, his secret partying and his lifelong love affair with his deputy, Clyde Tolson. Here was a man who stopped at nothing to exert his control – yet underneath the petticoats of power lay his own secrets…
Written by Harry Shearer (The Simpsons and This Is Spinal Tap) and Tom Leopold (Seinfeld and Cheers), with music by Peter Matz (Musical Director for Barbra Streisand and Carol Burnett), this world premiere exposes the private life of J. Edgar Hoover… in the form of a Broadway musical!
Directed by Josh Seymour with choreography by Olivier Award Winner Bill Deamer, this raucous show stars Broadway musical icon Bryan Batt, best known for playing Salvatore Romano in the acclaimed television series Mad Men.
Review by Stephen Gilchrist
For those of us whose lives are immersed in musical theatre ‘Here Comes J Edgar’ contains more than a twinkle of déjà vu. The show has book and lyrics by comedy icons Harry Shearer [of The Simpsons] and Tom Leopold, the writer of Seinfeld, Cheers and Will and Grace, with music by legendary arranger and conductor Peter Matz.
‘Here Comes J Edgar’ at the Kings Head Theatre has apparently been in development since 1994 but this is the world premiere. Peter Matz who composed the score died in 2002 and to those of my generation he is regarded as one of the great arrangers and orchestrators. He arranged and conducted Barbra Streisand’s early albums, her television specials and recorded with the top artists of his day. He received an Oscar nomination for Best Original Score for Streisand’s 1975 film Funny Lady.
What is the show about? Well, it’s a cartoon version of the life and career of J Edgar Hoover, reviewed by the big man himself on his death bed. He was the first director of the Federal Bureau of investigation and ran the outfit until his death in 1972. He had secret files on everyone, was not averse to blackmailing the Presidents he worked under (according to this show) including Roosevelt, Eisenhower, Johnson and JFK and as is also suggested, was a closet gay who had a lifetime relationship with his assistant Clyde Tolson. Apparently, he also liked going to parties in drag. In truth none of these revelations are new, dramatic disclosures, but they have been turned into a really fun show by the writers.
If I tell you that this show is probably the campest show in town, I would not be overstating it. It is gay, flouncy, funny and extremely broad in its comedic performance. It also contains, in my humble opinion, some of the best musical performances outside the West End. Everyone In the 16 strong company it’s terrific. Brian Batt, an American award winner for his performance in the TV show “Mad Men” plays Hoover and this is his London theatre debut. He is absolutely terrific. I felt there was something of a Steve Martin about him, or should I say a camp, Steve Martin? He has a fine voice and is a splendid comic actor. Hugo Bolton meets him, as Clyde Tolson, claw to claw, so to speak, in acerbic bitchiness. If you think that “The Producers” was camp, in Jolson’s words, you ain’t seen nothing yet
Quite why the show has taken 32 years to find an audience is a bit of a mystery but I for one am glad that it has and I foresee a very bright future for it. It’s not perfect, and when I referred earlier to déjà vu, I meant that some of the numbers are reminiscent of songs in at least half a dozen other musicals. For example, ‘I’ll never Miss Him’ could easily be mistaken for the song “I’ll Only Miss Her When I Think of Her” from the 1965 Broadway musical Skyscraper (by Jimmy Van Heusen and Sammy Cahn). However, I make no complaint about that at all since the score is tunefully old fashioned and the lyrics sharp and with punch lines. There are highlights aplenty. There is a powerfully comic love song as the two men, Hoover and Tolson meet for the first time, in the men’s room of a restaurant and there is a showstopper of a number as Hoover, in a ballgown, sings ‘I enjoy Being a Man’! Underneath the comedy there is a rather touching story of love as the men sing about being an ‘Old Married Couple’
Laura Medforth is sensational as Hoover’s lovelorn secretary Helen. She has a terrific voice and makes the absolute most of her numbers. Also impressive was Jess Pratley, another fine voice in a wonderful opening number, who plays J Edgar’s younger self. There is no one in this cast that is swinging the lead. If I have any criticism of Josh Seymour’s production, it is that the comedy is occasionally hit and miss, and sometimes the numbers seem a little disjointed. However, I can see this show ending up in the West End but it still needs some work.
Bill Deemer’s musical staging is up to his usual high standard given the small space that is the King’s Head. There was a small but excellent band led by musical director Luke Holman which provides a sound more expansive than its size would indicate. The set design by Sofia Pardon is elegant, clever and effective and Jamie Platt’s lighting plot is absolutely first class in every respect. The whole package is a quality product which deserves a future life after its run at the King’s Head. My companion and I had the best time. This is an absolute treat of a show!
Photo credit: Mark Douet
Cast
- Bryan Batt – J. Edgar Hoover
- Marc Elliott – Walter Winchell
- Hugo Bolton – Clyde Tolson
- Lucy O’Byrne – Mother / Mrs Ackerman
- Joanna Kirkland – Mother / Mrs Ackerman (21–24 July performances)
- Laura Medforth – Helen Gandy
- Jess Pratley – Boy John / Little Girl
- Isobel Grace Bass – Onstage Swing
- Judith Owen – Lady in Red
- Jeremy Batt – Onstage Swing
- Simon Anthony – John Dillinger / Lyndon B. Johnson
- Ryan Heenan – Agent Purvis / Dwight D. Eisenhower
- Alfie Parker – Franklin D. Roosevelt / Tony Clownpants
- Martha Pothen – Nurse / Maisie
- Holly Willock – Nurse / Casting Director
- Reuben Khan – Thad / John F. Kennedy
Creatives
- Book & Lyrics: Harry Shearer & Tom Leopold
- Music: Peter Matz
- Director: Josh Seymour
- Choreographer: Bill Deamer
- Musical Supervisor, Orchestrations & Arrangements: Ben Ferguson
- Musical Director: Luke Holma
- Set Designer: Sophia Pardon
- Costume Designer: Tom Paris
- Lighting Designer: Jamie Platt
- Sound Designer: Nick Lodge
- Casting Director: Harry Blumenau CDG CSA
- Associate Director: Jessica McKenna
- Associate Choreographer: Aimee Leigh
- Costume Supervisor: Katie Whatman
- General Management: James Quaife (Luminous Entertainment Group)
- Marketing: Cup of Ambition
- PR: David Burns
- Graphic Design: Feast
- Producers: Arthur Spivak & David Burns