Tag Archives: Lily Blundell

Invasion! An Alien Musical

Invasion! An Alien Musical

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Camden People’s Theatre

INVASION! AN ALIEN MUSICAL at the Camden People’s Theatre

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Invasion! An Alien Musical

“It is possible to see how, with more work, Invasion! can become something that audiences will enjoy”

 

If Edinburgh is beyond your budget this year, you should definitely visit the varied performances now being offered as part of the 2023 Camden Fringe Festival instead. You’re bound to find something appealing, and at bargain prices too. It’s great to find interesting theatre in your own backyard, and the number of shows on offer seems to grow every year. So feast your eyes on all the intriguing performances listed on the Camden Fringe website, and hurry to get your tickets before it’s too late.

This year I’m beginning with a visit to the latest musical from the Cambridge University Musical Theatre Society. This is the group that gave the West End its blockbuster musical hit SIX, about King Henry VIII’s unfortunate wives. The packed audience in the Camden People’s Theatre last night sounded eager to see if there’s another hit musical in the making. While there’s certainly conspicuous talent on display in Invasion! An Alien Musical, the show is a long way from the West End at the moment, figuratively speaking. This is mostly because Invasion! is a big budget musical put together on a shoestring. The money appears to have gone into boosting the sound of the keyboards at the expense of the singers. If you’re going to use amplification for the music, it seems only fair to give your singers a fighting chance by giving them an amplified sound as well.

But let’s backtrack a bit, and provide a sketch of the plot. With more than a little nod from classics such as the Little Shop of Horrors, the story behind Invasion! An Alien Musical is familiar enough. In brief, we meet exploited workers toiling away in a miserable theme park with not enough to live on, while an evil prime minister welcomes in sinister aliens disguised as plush toys. These aliens are, not surprisingly, here to take over the Earth. This would seem to be a pretty poor choice on the aliens’ part, given the current state of the Earth, but OK. The plush toys, called Larry Lotus’, that the aliens inhabit in order to mind meld with humans, are adorable, and of course, all the more threatening for that. If the plot had just stuck to the main story of Johnny Fox, exploited worker, trying to free himself and his fellow humans from alien plush toys (with the help of another alien called Sola) the audience could have reached the end of the show reasonably clear about what had happened. But there’s a ton of extra characters, some with mysterious American accents (take that how you will), and a lot of muddled rushing on and off the stage. There’s too much exposition to explain why these characters are on stage in the first place. The Rocky Horror Show, which also began as a musical on a shoestring, did this all very successfully, keeping the alien mayhem caught within a sinister mansion, rather than a theme park. And it brought all the extraneous events and characters into the mansion, while keeping Downing Street out of it. Keep it simple, folks.

It is possible to see how, with more work, Invasion! can become something that audiences will enjoy. Sci fi musicals have been successful in the pastβ€”even another low budget one like Return to the Forbidden Planet, which toured London parks in the Bubble Theatre’s inflatable yellow tent before transferring to the West End. It can be done, and the music and lyrics by the talented Lily Blundell deserve to reach a wider audience. But Jasper Cresdee-Hyde and Jonathan Powell, as writers and directors, are several drafts away from a workable book. The cast has some great singers, Kate South and Iona Rogan in particular. Gregory Miller is rather underused as a performer. But the leads, Jamie Ellis as Johnny Fox, Nathan Galpin as Brian Fox, and Freya Cowan as the alien Sola, are simply lost among the overpowered playing of Blundell on keyboards, and the acting and singing of the rest of the cast. The whole show needs to go for broke, and that includes the lighting, costumes and make up.

Hopefully this run at the Camden People’s Theatre won’t be the last we see of Invasion! An Alien Musical. If the cuddly plush toys go back to the drawing board and work on another draft, I, for one, would welcome the alien wannabe overlords back to the Camden Fringe next year. It would be cool to see how their plans for taking over the Earthβ€”or even the West Endβ€”are progressing


INVASION! AN ALIEN MUSICAL at the Camden People’s Theatre

Reviewed on 31st July 2023

by Dominica Plummer

Photography Charlotte DarganΒ 

 

 

 

 

 

Recently reviewed by Dominica:

 

Caligula And The Sea | β˜…β˜…Β½ | VAULT Festival 2023 | March 2023
Dance Of Death | β˜…β˜…β˜…β˜…β˜… | The Coronet Theatre | March 2023
Farm Hall | β˜…β˜…β˜…β˜… | Jermyn Street Theatre | March 2023
The Net Kill | β˜…β˜…β˜…β˜…β˜… | VAULT Festival 2023 | March 2023
666 Hell Lane | β˜…β˜…β˜…β˜…β˜… | The Vaults | February 2023
Dance Me | β˜…β˜…β˜…β˜…β˜… | Sadler’s Wells Theatre | February 2023
Oklahoma! | β˜…β˜…β˜…β˜… | Wyndham’s Theatre | February 2023
Police Cops: Badass Be Thy Name | β˜…β˜…β˜…β˜…β˜… | The Vaults | February 2023
Women, Beware The Devil | β˜…β˜…β˜…β˜… | Almeida Theatre | February 2023
Intruder | β˜…β˜…β˜…β˜… | VAULT Festival 2023 | January 2023
The Art of Illusion | β˜…β˜…β˜…β˜…β˜… | Hampstead Theatre | January 2023
The Ocean At The End Of The Lane | β˜…β˜…β˜…β˜… | New Victoria Theatre | January 2023

Invasion! An Alien Musical

Invasion! An Alien Musical

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The Man Who Wouldn't Be Murdered

The Man Who Wouldn’t Be Murdered

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Lion and Unicorn Theatre

THE MAN WHO WOULDN’T BE MURDERED at the Lion & Unicorn Theatre

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The Man Who Wouldn't Be Murdered

“there are definitely some musical talents among the cast, and they particularly shine as a chorus”

 

It’s always a bold choice to put on a new musical in a 60-capacity with only a keyboard for accompaniment. But that doesn’t stop the cast of The Man Who Wouldn’t Be Murdered from singing their hearts out.

I had never heard the tale of Michael Malloy before this evening, but writer and composer Lilly Blundell has done well to come upon it because it’s absolutely ripe for a musical farce.

In 1933 America, times are tough, and Michael Malloy (Jude Ashcroft) is drinking Marino’s bar dry when he’s supposed to be the one serving the drinks. So as to save his business, Tony Marino (Jamie Ellis) decides, along with a couple of greedy accomplices, to murder Malloy and collect his life insurance. But, as the name would suggest, despite their best efforts, he will not be killed.

Death (Marie-Ange Camara), tired of the same old stories, finds herself obsessed with Malloy’s murderers and acts as partial narrator and observer. Wanting to see how far they’ll go, she withholds her ultimate power: Therein lies Blundell’s explanation for Malloy’s seeming immortality.

Camara is certainly the star of the show, moving sphynx-like around the would-be murderers as she playfully interferes. She’s a childish psychopath, stomping her feet and yelling β€œboring!” at the prospect of the human condition, whilst almost salivating at the growing wilfulness of Malloy’s β€˜friends’.

There’s a bit of a problem with consistency: the faster paced songs are catchy and cheeky, whereas the slower numbers- a lover’s lament between main murderer Tony Marino and his wife (Annie Stedman), for example- are a bit of a drag, and feel especially long. They might be fine if it were a full-length musical, but given it’s only 55 minutes, I want as much jigging about as possible. Also, it’s a bit tired to have the only female character spend the whole time looking like a hurt bunny, trying to get her man to make sensible choices, and generally dampening the good fun.

With such a small space, it’s hard for the performers to gauge how big they should go, and the result is a bit pitchy. But there are definitely some musical talents among the cast, and they particularly shine as a chorus, splitting harmonies four or five ways, and moving in jaunty tandem. The design is thankfully simple, and further than the use of a drinks trolly, the stage is left mostly empty for the use of the generous cast of eight.

Please excuse me, but I’m about to majorly spoil the ending: Given that in real life Malloy was eventually murdered, it feels a bit bizarre that the story should end so abruptly with another failed attempt, instead focusing on the demise of Marino’s personal life. But it does feel like maybe this is just the first reveal of an idea still in incubation, an excerpt, even, from an as yet unfinished hit musical.

 

Reviewed on 16th August 2022

by Miriam Sallon

Photography by Jonathan Black

 

 

Previously reviewed at this venue:

The Rice Krispie Killer | β˜…β˜…β˜…β˜… | August 2021

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