” … the young cast bring believability and depth …”
13 The Musical brings together a teenage cast and the music of famed Broadway lyricist Jason Robert Brown, to produce a tale on the soaring highs and damning woes of pre-teenhood. Following the big city kid moves to a sleepy town model, the show chronicles Evan Goldman (Milo Panni) in his pursuit of acceptance in the social hierarchy of school. With all the classics of high school drama, 13 is high spirited and unashamed of its deep dive into teen culture.
The show reaps the full benefits of having such a young cast from the British Theatre Academy. Bringing believability and depth to an otherwise somewhat flat story and set, their fresh faced enthusiasm and talent ensures the show never lags. The snappy wisecracks, a few on the uncomfortable side when spoken by a twelve year old and clearly written by a forty year old man, are funny nonetheless and the laughs flow throughout.
Jason Robert Brown’s music is by far the stand out of the show. His particular brand of emotive, cynical and quick lyrics find some genuine emotional impact when belted out by the young cast. Through a fizzing opening number (“Thirteen/Becoming a Man”) to awkward first dates at the movies (“Any Minute”), the music allows the young cast to show off their energy.
On the other hand, the shows biggest problem is the story itself. Initially feeling like the first 10 minutes of High School Musical, that preteen cultural marker of the noughties, holds clear influence over 13. With the clever music and lyrics to thank, the show unfurls into something definitely wittier, but just as simplistic. In place of teeny bopping pop, the audience has middle school satire and a stock of predictable characters. A big mean sports bully, his loyal followers, the dim-witted beauty, a scheming cheerleader, and the lovable band of misfits welcoming our hero to his new life of suburban hell. It’s hardly ground-breaking stuff.
The most obvious flaw in the show is that it’s not this simple. Chase popularity and be saddled with unauthentic wannabes. Or accept your fate as a social pariah and find some genuine friends. Its well-worn ground. The truth of being a teenager lies somewhere with the nameless supporting characters of 13. Teenhood is almost never lived in the polarising worlds of geek or jock. In this regard the show is pandering to its adult audience. Pretending school was a living nightmare is often how we account for the somewhat average reality of being a teenager. 13 celebrates the melodramatic stereotypes of 21st century youth, not entirely truthful, but funny enough to keep the audience content in their seats.
“The cast of young performers are amazing, holding the stage and the attention of the children and adults in the audience alike.”
Once upon a time, a long, long, long time ago, while I was growing up I spent a lot of holidays in Italy. I’d seen the animated film but it wasn’t until I visited Pinocchio’s House in a small theme park in Rimini that I realised how well loved this traditional Italian story was. In Carlo Collodi’s classic tale I encountered a slightly more fable-esque version of the story, where misbehaving children feel real fear and encounter many dangers. I hope I’m not spoiling anyone’s fun when I say that the tale of Pinocchio starts out both wistful and sad, rampages through hope, fear and peril, but ends happily ever after!
Since those heady, hot summers the theme park has grown and expanded, and so have I. I’ve seen a few different versions of the folk tale over the years but hadn’t thought much about it recently until the opportunity to see the ‘all singing/all dancing’ production showcasing up-and-coming talent from The British Theatre Academy arose… so I jumped at the chance!
Condensed by Brian Hill, the play manages to keep the action moving without feeling hurried but doesn’t delve deep into the rollercoaster of emotion the story holds, however I will put that down to the 75 minute running time and the child friendly nature of the production.
Starting with shadow puppetry the story of toymaker Geppetto and the loss of his wife become almost a prologue, before the storytelling swiftly moves to real Geppetto (played by Martin Neely) on stage, lonely and wishing for a child of his own, he carves a puppet boy from wood. A puppet who can speak and move and hopefully become his family.
Wanting desperately to be human the boy, Pinocchio, reels from one bad decision to another, choosing adventure over his father’s wishes. He finds himself drawn to the livelier children of the town, then into a circus, before he is defrauded of all the money he has, sees his friends become donkeys and even ends up swallowed by a whale.
The Narrator of the prologue becomes the ‘Blue Fairy’ whose frequent encounters with Pinocchio ensure the story skips along fluidly, noting his tendency to lie and choose ‘fun’ over tasks, and she guides him to a moral conclusion: an unselfish act for the love of his father that will make him real.
The principal characters are very good; the slightly manic sideshow puppeteer manages quite a sophisticated performance, as do the sly Fox and the sneaky Cat con artists (the latter steals the show). Lizzie Rees plays the Blue Fairy/Storyteller and her very powerful vocals are wonderful but do at times dominate the rest of the voices in tone and talent, and therefore occasionally seem out of place.
The music by Neil Bartram is good and during the show’s ‘big number’, in which the whole cast fills the stage, the young ensemble dance in formation with gusto and obvious enjoyment (choreographed by Anthony Whiteman).
The cast of young performers (from the British Theatre Academy) are amazing, holding the stage and the attention of the children and adults in the audience alike. Their enthusiasm and confidence is infectious. The director does an amazing job organising a cast of approximately 200 that alters on rotation for each performance (there are 17 teams). Pinocchio himself is played by two actors as he is rarely off stage, leaving only Geppetto and the Blue Fairy as permanent, non-changing cast. I have worked in classrooms for many years and sat through many school productions – this is no mean feat from Bronagh Lagan!
The musical is fun and full of energy and a great way to spend a morning or afternoon over the school summer holidays. It’s short enough to not require an interval yet long enough to make the venture into Covent Garden worth the effort. The children in the audience certainly seemed transfixed, there was minimal fuss and talking in the stalls yet half of those watching were under ten years old.
An eight year old near me asked hushed questions about what would happen next as he wriggled with anticipation in his seat. Three children behind me sat in absolute silence taking it all in. Even a toddler sat through the entire show without anyone noticing.
Everyone applauded with appreciation at the end. A family group squeezed out of the row in front of me, Granny wiping teary eyes from the school play/children’s choir effect. A couple of 4-year olds in the front row left wide eyed and smiling.
“But is he really real now?” a chatty 7-year old asked everyone on the stairs on the way out. I widened my eyes and nodded slowly when he looked at me and he grinned.
