“The cast was absolutely outstanding, with not a single weak performance amongst them”
It is an interesting choice to hold Allegiance at The Charing Cross Theatre. The small, quirky theatre was recently home to From Here to Eternity, a stunning musical which told the story of American soldiers stationed in Hawaii during the Pearl Harbour Attack. Allegiance feels rather like a sequel to From Here to Eternity, telling the story of the aftermath from the perspective of the Japanese Americans.
George Takei’s touching musical tells the true story of the Japanese Americans forced into internment camps following the Pearl Harbour attack. A place where Takei spent a large portion of his childhood. It is clear that this musical is written from personal experience and was filled with heart. It is a moving story and a stark portrayal of the racism that was ingrained in society at the time, and a warning signal for the modern era.
The music (Jay Kuo) was cleverly written, with traditional Japanese themes intertwined with American Big Band style, and much like the cultures in the show, these styles were at times complementing each other, and at others appearing to clash somewhat.
The cast was absolutely outstanding, with not a single weak performance amongst them. A few stand outs were Telly Leung as Sammy Kimura, a young Japanese American feeling torn between his citizenship and his heritage. The song Allegiance, led by Sammy and his father (Masashi Fujimoto) was sublime. Patrick Munday as Frankie Suzuki led another fantastic performance in the song Paradise. However, the showstopper for me was Aynrand Ferrer, a powerhouse vocalist whose performance was filled with emotion. Her ballad Higher was truly breath-taking.
Given the heart-breaking subject matter, I was surprised to find some genuinely very funny moments in the show – George Takei is a great comic actor, with the humorous moments heightened by the hopeless situation that the characters were in at the time.
The set (Mayou Trikerioti) was simple and effective, however with the traverse staging, it sometimes felt like one side of the audience or another was being left out of the action a little, or that the performers were trying to find a happy medium, and at times appeared to be performing to the walls between the audience sections.
Allegiance is an incredibly powerful show that highlights an important and often overlooked part of history, and holds a vital lesson for the modern era to prevent history from repeating itself.
“Above all, this is a comedy showcase with plenty to laugh at”
We start with a few basic rules of dating. But, despite their comic value, not ones that we really want to take on board. The protagonist – a character called ‘The Manny’ – is supposedly enjoying his lifestyle. By day he looks after posh kids and his nights are filled with casual dates. The lack of joy or purpose is unconcealed. Deliberate even. He won’t allow himself to feel anything substantial or lasting. “I’m falling for her – I’m going to get hurt” encapsulates an attitude borne of some deep-seated wound, or fear. The reasons behind this are not explored, which makes Sam McArdle’s job of winning the audience over that much harder.
But he succeeds. McArdle, the actor and writer who has brought this one-hander to the stage, also brings the required self-deprecation, initially, for the audience to root for such a self-destructive character. And more than the required amount of humour, albeit of the darker variety. The obvious comparison is ‘Fleabag’, but there are also definite shades of Nick Hornby’s ‘About A Boy’. “The Manny” is inspired by McArdle’s personal experience of being a male nanny, working for rich single mums in West London. Early drafts were written during lockdown, so it is inevitable that the themes of loneliness and detachment are going to rise to the surface.
Just as he is resigning himself to a life passing by without any real purpose, the Manny meets Molly, a once-hopeful actress who is now just as disillusioned with her life as he is with his. She sells beetroot brownies in Borough market, as opposed to playing Cleopatra on Broadway. The two are drawn to each other. Meanwhile, in his parallel existence, he meets Michael, a precocious seven-year-old Right-Wing child with no father figure. Until the Manny comes along, that is, and they both have lessons in life to deal to each other. Mel Fullbrook’s sharp direction shifts the action between the two scenarios with the seamless precision of a film editor.
The show runs into difficulties, however, when the character of the Manny truly starts to unravel, and the premise of the comedy becomes muddied. As McArdle digs deeper, he exposes fragments of the subtext, but doesn’t pull them up to the surface. It is clear that the Manny has ‘issues’ and although it’s not explicit, the term ‘mental health’ is never far from his lips. And it is not clear whether societal pressure or the increasing use of dating apps is being blamed for the characters’ lack of connection. These people are hurting in some way, and while we can relate to the situations, it’s not easy to relate to the characters. The ‘Manny’ himself comes full circle – which is a touch unsatisfying as it offsets any sense of self-realisation, redemption or of a journey we can empathise with or connect to.
But maybe we aren’t supposed to over analyse. Above all, this is a comedy showcase with plenty to laugh at. McArdle has the art of entertainment off to a tee. With his comic timing and easy demeanour with his audience, he has the expressiveness of a true raconteur; which is a precious gift in itself.
