Review: Close To You - Bacharach Reimagined

The show originated at the New York Theatre Workshop back in 2013 and is the brainchild of musician and actor **Kyle Riabko** — he starred in both Hair and multi Tony-winning Spring Awakening on Broadway. Along with collaborator **David Lane Seltzer**, Kyle has, with **Burt Bacharach’s** blessing it’s important to add, taken the astonishing back catalogue of this great composer and created a joyous and thoroughly exhilarating celebration of his work. [**Close To You: Bacharach Reimagined**](https://www.londontheatredirect.com/musical/1995/Close-To-You--The-Bacharach-Musical-tickets.aspx) is actually more concert than it is musical theatre because there isn’t any real narrative to speak of. What scenario there is sees a group of friends (including **Kyle Riabko**) just hanging out and singing some songs together. It’s all comes across as wonderfully laid-back and easy going thanks to director **Steven Hoggett’s** deceptively simple but brilliantly effective staging. And the show is a prefect fit for the small and intimate Criterion Theatre — if you really want to chill out and take full advantage of the immersive experience, try and grab one of the twenty or so on-stage seats. The songs, over thirty in all, are mostly given new arrangements by **Riabko** and his work, which often involves blending two or more numbers together is really quite inspired and in some cases, dare I say, an improvement on the originals. No, really. But what a body of work **Bacharach** has given him to play with: 'Anyone Who Had a Heart', 'I Say a Little Prayer', 'Raindrops Keep Falling On My Head', 'Make It Easy On Yourself', 'Do You Know The Way To San Jose?' Yeah, I know, the list just goes on and on. The company here is made up of seven hugely accomplished singers and multi instrumentalists who make a terrific unit — there’s real tangible chemistry between them as they share some delicious harmonies. Particularly fine work comes from **Stephanie McKeon**, who originated the role of Natalie in The Commitments, and Anastacia McCleskey (another Broadway veteran from shows such as Book of Mormon and Hair), who gives a passionate and heartfelt turn on 'Don’t Make Me Over'. And **Riabko** himself takes a stunning solo slot with a haunting rendition of Alfie. But mostly it’s about the group dynamic and that works superbly well. The audience on the night I went was mainly made up of older people, some of whom looked on a rather disapprovingly when Kyle got a bit too enthusiastic with his electric guitar. But it would be a shame if [**Close To You**](https://www.londontheatredirect.com/musical/1995/Close-To-You--The-Bacharach-Musical-tickets.aspx) only attracts those who remember these songs from first time round because if this show has a message at all it’s that quality doesn’t age and hopefully it will go a long way in introducing **Burt Bacharach’s** work to a new generation.