Accompanied by a characteristically dissonant score, there are some stand-out songs that have become musical theatre favourites over the years, ranging from the title song to “Everybody says don’t” (covered by everyone from Patinkin to Streisand) and the cabaret torch song standard “There won’t be trumpets” which was cut from the original 1964 production.

The stage space at the Jermyn Street is as always, rather limited however, the direction remains precise and true to the piece without coming across as too overpowering. Energy and tension are conveyed without actually blowing you totally out of your seat and the choreography mirrors the musical itself – eccentric and diverse. One gets to witness admirable tap dancing from stiff upper lip, boot-adorning politicians as well as lyrical balletic steps and even lifts (!) from raggedy-clothed chorus cast members who then glide simply effortlessly back into being part of the orchestra. With an actor musician production it is as always, easy to run the risk of the instruments hindering the general action yet in this instance, saxophone, trumpet & co blend in, rather than disrupting an otherwise pleasant musical interlude.

The cast is led by Issy van Randwyck as Mayoress Cora Hover Hooper, the archetypal person-in-power out for mass manipulation to serve her own benefit. Van Randwyck is a vision of stunning impeccability from the top of her stylish coiffure to the tip of her classy red heels. The woman can most definitely sing but more than that, she exudes the authority and commanding quality required for the part. Throw in some quant comic timing with stylish sharply raised eyebrows to complete the package of a formidable leading lady. Rosalie Craig as Nurse Fay Apple/French temptress in Monroe-like-wig commands the stage with strength and softness, taking us through turbulent emotions with startlingly honest precision while never losing touch with her vulnerability.

David Ricardo-Pierce as conman (..or should that be a cookie?) Doctor Hapgood convinces as simultaneously sexy and savvy with a beautiful singing voice, which is particularly noticeable in one of Sondheim’s less-familiar duets “With so little to be sure of”. Alistair Robins continues his successful interpretation of Sondheim’s finest villains, this time portraying a deliciously witty Controller Schub and proving that he is clearly an expert on the perfect actor’s pause. Karl Moffat as Chief Magruder and Leo Andrew as Treasurer Cooley are a perfect baddy pair, Moffat particularly proving that he is a true triple threat who remains menacingly in character even while having to synchronize his off beat syncopation song harmonies with the (adeptly executed) tap time steps of his routine.        

The townspeople/chorus look like petrified rabbits and headlights for most of the piece, torn between angst at being locked up in a cookie jar at and exhilaration at witnessing a miracle. This rollercoaster of emotional demands could easily end in a rather two dimensional portrayal but it’s thanks to the commitment and truthfulness of the actors that we keep believing.             

Not surprisingly, I hear the run has now sold out, but nothing is stopping you from joining the townsfolk in believing in a miracle, namely the ticket-return-of-the-day phenomenon…though surely that would make you mad too?