The Baker's Wife West End Reviews

A charming production that finds sweetness in its bitter themes of infidelity and forgiveness, The Baker’s Wife’s' message remains timeless. A gentler offering from Stephen Schwartz’s catalogue, this immersive show whisks you away to a time lon...

A charming production that finds sweetness in its bitter themes of infidelity and forgiveness, The Baker’s Wife’s' message remains timeless. A gentler offering from Stephen Schwartz’s catalogue, this immersive show whisks you away to a time long past with a phenomenal ensemble who find the heart and soul in their characters. Perhaps the mistake made 50 years ago was attempting to bring The Baker’s Wife to a larger space. In the Menier’s intimate space, it makes for a real treat.

While you might be able to affect a Gallic shrug at the show’s unproblematised attitude to its central age gap (endorsed at the sentimental close), it’s harder to dispel the impression that the musical augmentation drains the tale of rustic authe...

While you might be able to affect a Gallic shrug at the show’s unproblematised attitude to its central age gap (endorsed at the sentimental close), it’s harder to dispel the impression that the musical augmentation drains the tale of rustic authenticity. For all the strenuous accordion-playing and warm orchestrations, instead of becoming more atmospherically specific it all starts to sound touristically generic. And we’re not miles from ‘Allo ‘Allo!, with a community of types: the local drunk, the moralising priest, the sage teacher, the lecherous Mayor. They bicker a fair bit but don’t flicker into memorable life.

Gordon Greenberg’s affectionate production is soggy-bottomed in the weaker second half. Glazed in Paul Anderson’s yolk-gold lighting, the characterful ensemble includes Josefina Gabrielle’s knowing cafe owner and Finty Williams as a worm-turnin...

Gordon Greenberg’s affectionate production is soggy-bottomed in the weaker second half. Glazed in Paul Anderson’s yolk-gold lighting, the characterful ensemble includes Josefina Gabrielle’s knowing cafe owner and Finty Williams as a worm-turning wife: the musical’s unsatisfied women are far better company than their boorish menfolk, and cut loose in a tango. Holding the story is the baker. Clive Rowe is built for optimism – round eyes shining with merriment, voice rich with adoration. It’s horrible to see him reduced to misery – the light leaves his eyes like an oven turned cold.

The first thing to say about the chamber production by Gordon Greenberg — who has previously staged the musical on the other side of the pond — is that it looks gorgeous. As audience members take their seats on three sides of the cast they are im...

The first thing to say about the chamber production by Gordon Greenberg — who has previously staged the musical on the other side of the pond — is that it looks gorgeous. As audience members take their seats on three sides of the cast they are immersed in a world of pétanque and terrace café chatter. Paul Farnsworth’s set glows with a Provencal sheen; Paul Anderson’s lighting evokes the sense of the sun weighing on everyone.

This particular show also benefits from director-of-musicals extraordinaire Greenberg’s in-depth familiarity with it, having previously directed a critically acclaimed U.S. revival in 2005. Crucially, he understands that romance is only one strand ...

This particular show also benefits from director-of-musicals extraordinaire Greenberg’s in-depth familiarity with it, having previously directed a critically acclaimed U.S. revival in 2005. Crucially, he understands that romance is only one strand of the story and that perhaps the most important ‘character’ is the village itself. That’s where this production truly rises to the occasion. From the staging – which sits us on either side of designer Paul Farnsworth’s rustic French fantasia – to the way some scenes play out amidst us, we’re always brought up close to the supporting characters.

Greenberg’s production, with sensitive musical direction from Dustin Conrad, delivers the perfect balance of rustic charm and sexual tension. It may not yet be Broadway-bound, as many of the Menier’s past shows have been, but it is a masterclass ...

Greenberg’s production, with sensitive musical direction from Dustin Conrad, delivers the perfect balance of rustic charm and sexual tension. It may not yet be Broadway-bound, as many of the Menier’s past shows have been, but it is a masterclass of musical theatre for the smaller stage.

Currently, Greenberg’s technically ambitious production is tonally inconsistent and sometimes lacks urgency: it feels as though it needs slightly longer to bed in. However, with its luxury casting and lush visuals, this satisfying, delicate confect...

Currently, Greenberg’s technically ambitious production is tonally inconsistent and sometimes lacks urgency: it feels as though it needs slightly longer to bed in. However, with its luxury casting and lush visuals, this satisfying, delicate confection is already a heady delight.

Stephen Schwartz’s score, with its blend of wistful ballads and uptempo numbers sounds divine under Stuart Morley’s musical supervision and Dustin Conrad’s musical direction. This revival of The Baker’s Wife is a delicious treat; sweet withou...

Stephen Schwartz’s score, with its blend of wistful ballads and uptempo numbers sounds divine under Stuart Morley’s musical supervision and Dustin Conrad’s musical direction. This revival of The Baker’s Wife is a delicious treat; sweet without being cloying. It also features a dream ensemble cast, the kind you don’t see coming together every day.

The irresistible immersive staging draws the audience in. Paul Farnsworth has filled his French bingo card: the square is framed by lush trees, dilapidated green shutters and ivy-clad wrought-iron balconies, plus there are adorable café tables (at w...

The irresistible immersive staging draws the audience in. Paul Farnsworth has filled his French bingo card: the square is framed by lush trees, dilapidated green shutters and ivy-clad wrought-iron balconies, plus there are adorable café tables (at which a few audience members are seated), men in flat caps playing boules, and constant, insouciant smoking. Matt Cole’s movement makes the entangled ensemble feel like one character.