Revived in a thoroughly charming a boutique production, rarely staged Stephen Schwartz musical The Baker’s Wife breaks bread at cherished London revival house, Menier Chocolate Factory.
Originally touring the US in 1976, the original production of The Baker’s Wife did not meet the music theatre yardstick of success, ie it did not play Broadway. The musical has retained a cult following, boosted by all time hit power ballad “Meadowlark.”
Letdown by the sudden death of the previous baker, the fractious townsfolk of Concorde eagerly await his replacement. Upon the arrival of Aimable, his beautiful young wife Genevieve is mistaken for his daughter. Aimable thrills the town with his delicious baking until Genevieve absconds with handsome local romeo, Dominique.
Based on a 1938 French film, the book of the The Baker’s Wife presents the audience with a quandary. A musical theatre audience is conditioned to root for the key romantic pairing, in this case Genevieve and Dominique, but to do so here is to support adultery. Raffish cad Dominique can be seen as something of a villain but Genevieve is an entirely sympathetic character, as is her husband Aimable. There are lessons learned before a happy resolution but the central tension in the storytelling remains.
Having helmed a successful production back in 2005, director Gordon Greenberg returns to the work with keen insight. Having assembled a talented, experienced troupe of players, Greenberg successfully expands the focus of the musical beyond the main love triangle. Generational feuds and other unhappy marriages share the spotlight, with long suffering wives Denise and Hortense given strong agency. Searching together for Genevieve, Barnaby manages to resolve his feud with Claude but, left by his wife Hortense, dances alone in the finale.
Wonderfully flexible, the intimate space of the Menier is completely transformed into a French village by city designer Paul Farnsworth; stucco plaster, weathered shutters, and wrought iron balconies abound. Some audience members sit at cafe tables, joined by the townsfolk as the musical unfolds.
Farnsworth’s costumes suitably provincial, with just a touch of glamour reserved for the Marquis’ three “nieces.” Period details are ably supported by wig, hair, and makeup design of Sam Cox.
Musical director Dustin Conrad brings rich life to Schwartz’s wonderfully melodious score, with hummable, toe-tapping tunes coming in quick succession, particularly in act one. Although the performances are amplified, much of the singing is heard acoustically, with harmonies sounding quite glorious. Playing keyboard, Conrad leads a very strong band of eight fellow musicians, with the luxurious inclusion of a harpist.
Veteran performer Clive Rowe delivers a neatly understated central performance as baker Aimable, projecting soulful warmth in abundance. Rowe’s nuanced work ensures that Aimable is a rounded, sympathetic character and not a bumbling caricature.
Lucie Jones is a delight as Genevieve, bringing down the house with her soaring rendition of “Meadowlark.” Part of the thrill of watching The Baker’s Wife on stage is to see “Meadowlark” in context and this aspect is realised with full impact. With Genevieve absent for much of act two, Jones’ presence is missed when she Is off stage.
A treasure of the London musical theatre stage, Josefina Gabrielle shines as cafe proprietor Denise, warmly providing moments of narration and audience engagement throughout the show. Finty Williams enjoys full audience support in her sympathetic characterisation of dear downtrodden Hortense.
Joaquin Pedro Phoenix brings doe-eyed insouciance to self-centred scoundrel Dominique. Liam Tamne gamely does not shy from the uglier aspects of Barnaby’s mysoginistic treatment of his wife.
If even a fraction of a percent of the fans of Wicked attended this season of The Baker’s Wife it would be standing room only. Elevated by sharp direction, lovely design, and strong performances, The Baker’s Wife is a treat to be savoured.
The Baker’s Wife was reviewed 3pm Saturday 27 July 2024 at Menier Chocolate Factory Theatre, London where it plays until 14 September 2024. For tickets, click here.
Photos: Tristan Kenton