This biography of Napoleon charts his rise to power through military cunning, willpower and the sacrifice of the ones he loves, eventually leading to his demise caused by the Russian winter and his defeat at Waterloo.

The love story between Napoleon and Josephine is not covered deeply enough and so fails to build a meaningful relationship between these two main characters, this results in unconvincing love scenes. The writers seem unsure as to whether they want to base the story around Napoleon's drive for power or his love for Josephine. What we end up with is a sketchy account of his rise to power and an even more sketchy account of his relationship with Josephine. There is nothing new in this musical to make it stand out from the rest, and it certainly has nothing to sustain a long run with patrons coming back to see it again and again.

I saw the matinee, and as is common nowadays, the understudy Mark Stobbart played 'Napoleon'. He only graduated from Mountview Theatre School in 1999, but he looks as if he may have a successful career ahead of him, if this performance is anything to go by. He produces a convincing and strong performance. Anastasia Barzee performed adequately, but then her acting skills were not put to the test with this Josephine. The strongest character is 'Talleyrand', a senior government minister who is portrayed as the main power behind Napoleon's throne. The scheming 'Talleyrand', is played wonderfully by David Burt who produces the best performance of the show.

Although, this is an 'average' musical, it is still worth seeing as the show does have a nice score (Timothy Williams) that works well, though it is not memorable. Historically the story is interesting, though it doesn't reveal much about the characters. The lyrics by Andrew Sabiston are mediocre, but satisfactory. There's not much to say about Michael Yeargan's set design, other than it is minimal.

(Darren Dalglish)

A round up of reviews from the popular press by Darren Dalglish.

As expected, the show has not received good reviews from the popular press. SHERIDAN MORLEY for TELETEXT wrote a positive review, saying, "Well, what a surprise. Just as West End musicals were going minimalist and dark along comes the most lavish, over-the- top extravaganza since Ivor Novello dropped dead in King's Rhapsody in 1951. True, Napoleon is not all that good. But director Francesca Zambello.... has thrown everything at it. Tosca and Traviata combined have nothing on what is happening here." BENEDICT NIGHTINGALE for THE TIMES was not impressed, saying the show had "music that often went tum-tum, lyrics that regularly went plonk-plonk, and rhymes that sometimes left me wishing no such thing as rhyme had been invented". He ends his review, "As it is, there's only one answer to the question of whether this new musical is stronger and more enjoyable than the year's other Gallic offerings. Not tonight, Josephine." PAUL TAYLOR for THE INDEPENDENT says, "...Napoleon is severely deluded and in urgent need of counselling. Last night's opening presented us with two and three-quarter hours of hammy historical hokum, diversified by a couple of moments that served to indicate what might have been if anyone around had had any taste." He goes on to describe the score as "Talentless" and the lyrics "Dire". He was however impressed by the set design, describing it as "slick and fluent ", but says, "...man cannot live by sets alone." CHARLES SPENCER FOR THE DAILY TELEGRAPH says, "The show is a shameless attempt to cash in on the vast box-office success of Les Miserables. Unfortunately it seems like a dismally pale imitation, with almost none of the drama or thrilling theatrical spectacle." He goes on to say, "Williams's score is a non-stop parade of churning, ersatz-emotional anthems that go straight in one ear and out the other without troubling the brain, heart or memory, while the triteness of Sabiston's lyrics often beggars belief." NICHOLAS DE JONGH for THE EVENING STANDARD says, The songs are unmemorable and unhummable."

(Darren Dalglish)

Review by Jonathan Richards (: Jonathan@sevin.co.uk)
Oct 2000

This new musical, Napoleon, by Canadian newcomers Anthony Sabiston and Timothy Williams, seems to be another show which will suffer at the hands of the press. And yet, this relatively unheard-of duo have come up with something rather good.

Directed by acclaimed opera director Francesca Zambello, this new musical follows the rise and fall of one of the most famous people in French history, and his traumatic relationship with his beloved Josephine.

This is no Les Mis, nor is it another Notre Dame de Paris, and thankfully so. Using the often powerful chorus presence of opera but the fluidity of the musical, Zambello joins together with her creative team (Yeargan - set, Fisher - lighting and sumptuous costumes - Lecca) to create a visually stunning production which moves fluidly from scene to scene using hydraulics, scrims, mirrors and projections (Hartley). The production has pace even though some of the sung through show lacks momentum. It also brings the audience some thrilling theatrical moments.

The show does try to pack a lot into its 2 hour and 40 minute running time; the first half is too long, the second half is too short and has little subject matter to fill it. It is helped not to drag by a stunning cast led by Paul Baker as Napoleon and Anastasia Barzee as his wife Josephine. Both are very good singers and actors, but lack conviction in their passionate love for each other. Trying to convey their love is not helped by some rather dreadful rhymes from Sabiston. Other supporting performances are excellent, especially from David Burt as Talleyrand, who delivers his lines and songs with a menacing air and fits the part written to a T.

The music is pleasant enough, and often stirring, the lyrics occasionally banal, but the acting and singing is wonderful and the whole production is a audio, visual and theatrical treat. So treat yourself to Napoleon.

(Jonathan Richards)