FOR THE LACK OF LAURA
Shaw Theatre
★★★
“At its heart there is a musical gem”
Does eternity give you enough time to find true love? This is the central question that preoccupies Laura, the heroine in Kurt Rosenberg’s “For the Lack of Laura”. As luck would have it, or rather misfortune, Laura is given the opportunity to find out. With immortality at her fingertips, surely she can find ‘the one’. Or at least it gives her ample time to try out different ‘ones’.
Rosenberg’s musical opens in a filmic style, with rolling credits beamed onto the back wall. The overture, recorded by the Royal Philharmonic Orchestra, sounds thin when compared to the live orchestra that kicks in as soon as we are transported back to the distant past. According to the surtitles we are in Heatherhill, Ireland. The villagers are celebrating, dancing a reel to the Gaelic inspired music, complete with pipes and bodhrán. The shadow of a sorceress hangs over the town in the shape of Gwendolethe. She singles out Laura, granting her, not just the gift of eternal life, but also the ability to travel through time. Mo Lombardo’s pantomime villain portrayal of Gwendolethe lets us know that this could be a curse rather than a superpower, but Jane Patterson’s ingenuous Laura accepts the temptation rather too easily.
The concept is intriguing, and it allows Rosenberg’s score to explore various genres of music. The narrative, however, is random and tenuous as Laura pops up (in fairly rapid succession) in Madrid at the turn of the twentieth century; then a modern-day English orchard; depression-era New Orleans; nineteenth century Paris, and pre-revolution Moscow. In each time and place she meets her suitor yet is given little time to make up her mind. A bit like speed dating, but she has the luxury of being able to go back for a second opinion, and to test their suitability.
With the orchestra visible on stage, the music is sumptuous and delivered with passion by the ensemble cast. Patterson’s pure and ethereal vocals fill the auditorium, complimented by the richness of Lombardo’s beautiful tones. Laura’s childhood sidekick, Maggie, is one to watch out for, wonderfully played by Emma Daly who also provides a generous helping of comic relief, aided by Brian May’s Patrick. Their love story is a sub plot that has more resonance and realism than Laura’s central quest for true love.
Each of Laura’s suitors is given a song or two of their own. Tobi Kaye’s New Orleans struggling playwright has a wonderful moment with a smoky, bluesy number, while Keith Hanley’s matador Salvador delivers a dashing flamenco, surrounded by his sultry gypsy dancers – looking and sounding gorgeous. Finn O’Callaghan is having great fun as Louis, the impressionist artist from Montmartre and Barra Convey certainly camps it up as Mikail the Bolshoi ballet dancer. In the midst of them all is Allan, the upright English vicar, earnestly played by Lenny Turner with an off-putting air of self-righteousness which you can forgive and forget as soon as he sings.
The balance is strongly in favour of the music, which is a delight with its blend of cultures and drama, folk and fantasy. We care little for the heroine’s plight, however, and find it difficult to believe that the characters could actually be in love with her. Luke Morgan’s direction occasionally hinders the proceedings. It is already a long show, but a lot of time could be shaved just by speeding up the scene transitions. Ultimately, we are not fully invested enough to be rooting for Laura. The disconnected scenarios in which she finds herself are devoid of emotion. And when the characters somehow all stray from their own time zones to come together like a shortlist of auditionees, it is a touch embarrassing waiting to see if they are going to be swiped from Laura’s ‘Tinder’ mindset.
There is a very neat twist in the closing moments – a condition to the sorceress’ bargain that is very cleverly revealed and manifested. It puts a smile on your face and leaves a strong impression, but for a tale that explores immortality it does seem to take an eternity to get there. There is no lack of talent in “For the Lack of Laura”. It could benefit, however, from being a sung-through musical in which we can savour being lost in the music rather than adrift in the mixed-up messages of its narrative. At its heart there is a musical gem.
FOR THE LACK OF LAURA
Shaw Theatre
Reviewed on 24th July 2025
by Jonathan Evans
Photography by Brigid Vinnell
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