Ansell fans, at least, set for a good ol’ treat

WHISTLE DOWN THE WIND, Opera House, Manchester

NO doubt, given former G4 popera-singer Jonathan Ansell’s pretty-boy looks — albeit here buried under hair, beard and bloody vest — he would be a big loss to the boys in the Big House.

But prison’s loss isn’t necessarily our gain as Ansell takes on his debut musical role as the escapee (or possible deity), known only as “The Man”, in this heartfelt but rather histrionic Bill Kenwright production of the Lloyd Webber musical.

The original Mary Hayley Bell book and subsequent film had at least gritty northern realism and intensity of youthful emotion to carry it.

But Lloyd Webber moved this rather simple tale of tragically mistaken identity to the USA’s deep south in the Fifties, which meant he could throw in religious fanatics, segregation, good ’ol boys and every other southern cliche known to entertainment.

Then he ladled in buckets of sentiment and shifted everything up a sexual gear to make the 15-year-old Swallow (the sweet-voiced Carly Bawden) a little closer to womanhood than its creator perhaps envisaged.

Kenwright’s direction takes this softened, widened tale, nips and tucks the original London production and softens it even further as he goes.

Ansell’s overblown angst (sadly not carried through to his singing, which is pure English chorister) takes the place of emotion and depth, and generally the whole thing becomes a sort of Mills and Boonish tale of forbidden love in which the only thing of real note is that song, “No Matter What”.

And if that’s the only thing to look forward to, you might as well start praying . . .

None of this makes any difference, of course, to the hordes who will pack into the theatre — many of them Ansell fans, which is the point — and enjoy the show over the next couple of weeks.

Ansell can just about carry the performance and sings well, if out of character, but Swallow and her brother and sister are sweet and lively, while the rest of the show sports a huge (by modern standards) and workmanlike cast, a serviceable set, perfect sound and a moderate running time — all good ’ol points in my book.