★★★

“a compelling story, and the performances and music are engaging”

This musical, structured as a true crime podcast, tells the real story of Edith Thompson’s 1922 trial for the murder of her husband, by her lover. The central question of the play is how complicit was Edith in her husband’s death, and will she be found innocent or guilty of murder.

The story is salacious, Edith is trapped in a loveless marriage, unable to divorce, despite a passionate obsession with her young lodger. Her 62 love letters, filled with intimate sexual detail are read out at the Old Bailey, and she is set upon by the prurient tabloid press.

Writer and director Chris Burgess sees this as a ‘passionate and tragic love story’ though most of the colour is found in Edith’s sexual awakening, at the hands of the handsome young Freddy. The play presents their story as a great romance, but it is maybe more intriguing as a lustful triste that enables a crime of passion.

The choice to present this story as a true crime podcast feels under explored. It is used as a device for exposition, interrupting the songs with evidence-based narration. It also firmly emphasises when the dialogue is verbatim from the court transcript or Edith’s letters. Unfortunately, this has the effect of making the imagined scenes seem straight from a soap opera. The characters are thinly fleshed out, with nothing more than their circumstances presented. Edith is not explored enough to be unique, or especially interesting, beyond her raunchy fantasies.

All of the actors’ performances are rich and complex and it’s a shame they’re trapped in this ungainly format. Each performer sits on a stool behind a music stand. The Writer narrates and the others jump into centre stage to perform moments from the narrative. There are dance numbers, by movement director Robbie O’Reilly, which have a jazzy ‘Chicago’ feel and are too few and far between.

Daisy Snelson is mischievous and sensual as Edith. Her voice is incredible and her songs enchanting. The tragedy of her life is lacking a little, but through no fault of Snelson. Dominic Sullivan as Freddy is flirty and fun, and his passion is clear. As he performs the fit of jealousy that leads to the murder, he shows an impressive range and depth of emotion. When not actively performing though, he fidgets and giggles, which is a pity. Alex Cosgriff and Jude St James are jovial and energetic as the chorus, presenting the British Press, the various courtroom figures, and Cosgriff as Percy, the murdered husband. Sue Kelvin is criminally underused as the narrator. When she is allowed a moment to shine, she completely steals the stage, captivating the audience with her rich singing voice and witty asides.

The music saves this production. It is performed by musical director Isaac Adni, on the piano, whose energy and focus are infectious. Chris Burgess has worked with musical arranger Steven Edis to bring this varied and exciting music to life. There’s a nod to the 1920s period, but it doesn’t feel trapped in one genre or mood. Each number, be it moving ballad, sultry solo or peppy tune, allows the strength of the singers to shine.

It is a compelling story, and the performances and music are engaging, but the format is distancing, making the whole show feel ultimately meandering.

THE STORY OF MY LIFE at the Stage Door Theatre

★★★★

“Hill’s dialogue and Bartram’s lyrics are full of eccentric humour, observations and paradoxes”

“The Story of My Life” wears its influences unashamedly on its sleeve, but at the same time has some gorgeous little tricks up those same sleeves. The opening number, ‘Write What You Know’, has more than a nod towards Stephen Sondheim, yet as the song list unfolds, Neil Bartram’s own individuality as a composer shines through. The musical numbers are the perfect accompaniment to Brian Hill’s book, that is intelligently and wittily crafted into an emotional tribute to friendship. The musical’s spirit is lifted straight from Frank Capra’s ‘It’s a Wonderful Life’, and it soars just as high. Truly, it’s a wonderful show.

Alvin (Tim Edwards) and Thomas (Markus Sodergren) are childhood friends. They became best friends in first grade, bonding over their respective Halloween costumes – Thomas as the Angel Clarence from Capra’s film and Alvin as the ghost of his mum. An indeterminate number of years later, Thomas – now a bestselling author – is trying unsuccessfully to write the eulogy for Alvin’s funeral. The ghost of Alvin appears, more of a distraction than a helping hand, but between them they pull books from the shelves behind them, picking out stories from their past and moulding them into the songs that beautifully evoke their friendship, and the forces that drew them together, then apart, and eventually together again posthumously.

Alvin is a bubble of energy, fascinated by the infinite quirks of the universe while remaining trapped within his own small world. Edwards brilliantly captures Alvin’s sheer ingenuous joy of life, that beats like a fragile wing unable to withstand the winds of fear and insecurity that push him over the edge. His is a complicated mix of neediness and loyalty that Edwards makes irresistibly endearing. Sodergren’s Thomas is more calculated but no less complicated. Breaking bonds and breaking away, his success as a writer throws him into denial. Not just for his true feelings, but also the fact that his literary triumphs are, in fact, literally stolen from his friend’s imagination. Sodergren perceptively chips away at his hard mantle, eventually acknowledging the debt he owes. Whether it is too late or not doesn’t matter; he melts our hearts anyway.

In fact, they both do. We laugh and we cry with them. Hill’s dialogue and Bartram’s lyrics are full of eccentric humour, observations and paradoxes. Occasionally verging on platitude, they are pulled back by the performances. Each song is seamlessly crafted into the text, drawing us in with a smile or a tear as we are swept from the underscore into the waves of emotion of each melody. Sometimes the line between leitmotif and repetition is blurred, but there are some stand out moments. ‘This Is It’ echoes the multiple meanings of the title phrase; its harmonies bringing the couple together. A rich counterpoint to ‘Saying Goodbye’ – parts one to four seen through different eyes. ‘The Butterfly’ is another stand-alone moment, quiet but strong and magnificently delivered. ‘1876’ adopts a lilting folksiness that conjures a young Tom Waits. Minus the gravelly voice, of course. Both Edwards and Sodergren have the vocal purity that can carry the emotive weight of the songs. Musical Director, Aaron Clingham, skilfully and sensitively guides them through the repertoire. They are often tricky numbers, but Clingham’s effortless piano – accompanied by Pippa Mason on cello and Becky Hughes on Clarinet and oboe – lift them into a floating and haunting score.

Designer David Shields’ setting is stark, simple and spot on. White books stacked on white bookcases feed the narrative as the actors plunder the shelves for their backstories. Robert McWhir’s intuitive direction allows the action to wander through the audience, drawing us further in still. Eventually we don’t mind that the ending is unresolved. We never get the full answers to the questions that this musical poses, yet we are filled with a sense of peace. It is quite a unique experience to be moved by something that isn’t being shouted from the rooftops.

Alvin talks about the ‘Butterfly Effect’ – the idea that the world is deeply interconnected, and that a small butterfly flapping its wings could, hypothetically, cause a typhoon somewhere else in the world. “The Story of My Life” is seemingly small-scale, yet it has a huge effect. And an even bigger heart. A real gem that needs no Guardian Angel to ensure its success.

Tag Archives: LAMBCO Productions

ENTERTAINING MURDER

★★★

Upstairs at the Gatehouse

ENTERTAINING MURDER at Upstairs at the Gatehouse

★★★

“a compelling story, and the performances and music are engaging”

ENTERTAINING MURDER at Upstairs at the Gatehouse

Reviewed on 27th November 2024

by Auriol Reddaway

Previously reviewed at this venue:

THE BOYS FROM SYRACUSE | ★★★ | September 2024

TOM LEHRER IS TEACHING MATH AND DOESN’T WANT TO TALK TO YOU | ★★ | May 2024

IN CLAY | ★★★★★ | March 2024

SONGS FOR A NEW WORLD | ★★★ | February 2024

YOU’RE A GOOD MAN, CHARLIE BROWN | ★★ | December 2023

THIS GIRL – THE CYNTHIA LENNON STORY | ★★ | July 2023

HOW TO BUILD A BETTER TULIP | ★★ | November 2022

FOREVER PLAID | ★★★★ | June 2021

ENTERTAINING MURDER

ENTERTAINING MURDER

Click here to see our Recommended Shows page

THE STORY OF MY LIFE

★★★★

Stage Door Theatre

THE STORY OF MY LIFE at the Stage Door Theatre

★★★★

“Hill’s dialogue and Bartram’s lyrics are full of eccentric humour, observations and paradoxes”