Ruthless!
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Unpacking "Ruthless!" on the West End
"Ruthless!" is a wickedly funny all-female musical that made its West End premiere at the Arts Theatre on March 27, 2018, following previews from March 16, and ran until June 23, 2018. With music by Marvin Laird and a book and lyrics by Joel Paley, this campy cult classic spoofs Broadway hits like Gypsy and Mame, plus films such as The Bad Seed and All About Eve. Directed by Richard Fitch, it starred Jason Gardiner as Sylvia St. Croix and Tracie Bennett as Lita Encore, delivering a gleeful tale of ambition and murder that originated Off-Broadway in 1992, where it launched stars like Natalie Portman and Britney Spears.
A Tale of Talent and Terror
The story centers on eight-year-old Tina Denmark, a pint-sized powerhouse who’s “born to entertain” and desperate to snag the lead in her school play, Pippi in Tahiti. When third-grade teacher Myrna Thorn casts the untalented Louise Lerman instead, Tina egged on by sleazy agent Sylvia St. Croix “accidentally” hangs Louise with a jump rope, claiming the role. Enter Judy Denmark, Tina’s talentless mom, and Lita Encore, her tart-tongued critic grandmother who hates musicals. As Tina’s crimes unravel, Judy discovers her own Broadway roots, morphing into a diva while Tina lands at a reform school for psychopathic ingenues, setting up a showdown of ruthless rivalry.
A Campy Creative Cocktail
Marvin Laird’s music pairs with Joel Paley’s biting lyrics to skewer theatrical tropes, brought to life by Richard Fitch’s direction and Rebecca Howell’s sharp choreography. Morgan Large’s kitschy set design and Gareth Valentine’s musical supervision amplify the satire. The West End cast dazzled, with Gardiner’s drag turn as Sylvia, Bennett’s Olivier-winning gravitas as Lita, and Kim Maresca’s Judy evolving from housewife to star. Harriet Thorpe as Myrna and Lara Denning as Louise/Eve added to the hilarity, while young talents like Anya Evans rotated as Tina, echoing the show’s legacy of spotlighting future icons.
A West End Whirlwind
After a 25-year Off-Broadway legacy where it ran 342 performances in 1992-1993 "Ruthless!" hit London with the Menier Chocolate Factory as executive producer. Critics embraced its “raucous night” (Gay Times), with The Telegraph calling it a “connoisseur’s kitsch.” Its 14-week run drew fans of its dark humor and Broadway send-ups, though it didn’t extend beyond June. A 2019 BroadwayHD recording captured its Arts Theatre glory, preserving the laughs for streaming. Earlier UK success at Stratford Circus in 2002, where it won five Musical Stages Awards, paved the way for this glitzy premiere.
Songs That Slay
The score is a treasure trove of parody: “Born to Entertain” flaunts Tina’s ambition, “Talent” oozes Sylvia’s oily charm, and “I Hate Musicals” lets Lita spit venom. “To Play This Part” and “Where Tina Gets It From” dig into the family’s theatrical DNA, while “Penthouse Apartment” and “Ruthless!” revel in over-the-top diva antics. Performed with a knowing wink, these numbers backed by a tight band nail the show’s blend of innocence and menace, with the 2018 cast’s vocals cutting through the camp like a stiletto.
A Killer Legacy
From its 1992 Off-Broadway bow featuring Laura Bell Bundy as Tina with Portman and Spears as understudies to a 1993 LA run and a 2015 New York revival, "Ruthless!" has thrived as a cult favorite. Its West End outing added to its lore, spotlighting new talent and proving its satire still stings. Regional stagings, like Miami’s 1995 Colony Theatre run, and a 2014 Broadway Cares benefit keep it alive, while the London filming ensures its legacy endures. It’s a musical that thrives on its own outrageousness, a gleeful middle finger to theatrical piety.
Why "Ruthless!" Rules
"Ruthless!" hooks with its blend of dark comedy and Broadway mockery a killer kid in tap shoes is hard to resist. Its West End run was a camp triumph, balancing sharp satire with sheer fun, appealing to theatre nerds and mischief-lovers alike. Short but fierce, it’s a testament to ambition unbound, where talent turns lethal and every note drips with delicious excess. In London’s glitzy Theatreland, it carved a niche as a twisted, glitter-dusted delight that’s anything but tame.