ONE SMALL STEP at the Charing Cross Theatre

★★

“Milla Clarke’s slowly revolving set reflects a narrative going round in circles”

Set in the not-too-distant future, Takuya Kato’s “One Small Step” depicts a society where colonising the moon has become a practical reality. The scenario throws up many questions, some of which are touched upon in this short two-hander from Japan, but the focus of the story is very much rooted in present day, down-to-earth problems within the confines of a conventional marriage. The premise is a fascinating one, but ultimately it doesn’t really go anywhere. It’s all very well setting your sights on the moon, but you need to figure out the launchpad first.

Takashi (Mark Takeshi Ota) and Narumi (Susan Momoko Hingley) are a married couple working for a major company that is establishing a city on the moon. They share, with a touching yet naïve idealism, a wide-eyed enthusiasm at being part of humanity’s ‘fresh start’. Perhaps it’s because their own relationship needs a fresh start, as they spend the next hour bickering inconclusively. The mundane swiftly progresses to the central dilemma of the narrative. Narumi is pregnant, which puts her involvement in the forthcoming moon-shot in jeopardy. Cue the tried-and-tested, quasi-intellectual debates about abortion, the rights of women (and men), the right to life, corporate attitudes to maternity, careerism.

Narumi cannot seem to make up her mind about anything as Hingley plays tug-of-war with her character. We never really know whether she intends to keep her baby or not, but unfortunately, we cease to care. Little wonder then that Ota’s Takashi ends up in a whirl of schoolyard frustration. The discussions they repeat are pretty puerile given the subject matter. As the couple orbit around each other we expect them to gradually get closer, but there is little chemistry between the two and the inward spiralling of the script is claustrophobic. Milla Clarke’s slowly revolving set reflects a narrative going round in circles. At one point a robotic floor cleaner is seen surreptitiously scuttling around; presumably to sweep up dialogue that has fallen flat.

Somewhere in there is a gem of a story. It is the stuff of dreams, quite literally. Some may argue that the dream is closer than we think, but whatever way you look at it the textural landscape is a goldmine. “One Small Step” even has a cow on the moon (I wonder if it jumped over it first), which bizarrely mirrors the elephant in the room for the play’s protagonists. There are moments of humour in Kato’s script, which the actors do successfully seize upon. We want more of this – the lightness of touch lends more weight to the message, and we pay more attention.

A live camera feed projects the actors in close-up onto overhead screens. There is perhaps a reason for this beyond the bandwagon that Kato (who also directs) has jumped on. But, like the other choices made, it is lost in translation. We should be getting lost in the story but, as much as the pair’s fine performance draws us in, we are kept outside of their inner circle. Which is a shame as the issues are universal.

The moon belongs to nobody (despite the American flag up there). For now, at least, it belongs to anybody. The dreams, stories, ambitions and desires it has inspired belong to everybody. “One Small Step” has the potential to latch onto those visions, embracing the human problems inherent in mankind’s grand objectives. Yet it remains a small step, and needs more thrust to achieve lift off.

ONE SMALL STEP at the Charing Cross Theatre

Reviewed on 1st October 2024

by Jonathan Evans

Photography by Mark Senior

Previously reviewed at this venue:

MARIE CURIE | ★★★ | June 2024

BRONCO BILLY – THE MUSICAL | ★★★ | January 2024

SLEEPING BEAUTY TAKES A PRICK! | ★★★★ | November 2023

REBECCA | ★★★★ | September 2023

GEORGE TAKEI’S ALLEGIANCE | ★★★★ | January 2023

FROM HERE TO ETERNITY | ★★★★ | November 2022

THE MILK TRAIN DOESN’T STOP HERE ANYMORE | ★★★ | October 2022

RIDE | ★★★★★ | August 2022

VANYA AND SONIA AND MASHA AND SPIKE | ★★★ | November 2021

PIPPIN | ★★★★ | July 2021

ONE SMALL STEP

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★★★★

“an absolute treat”

Come Dine With Me is a national treasure of British television, having been on our screens on Channel 4 since 2005. It’s contributed greatly to the world of meme culture and is much-loved (and watched) by people all over the world. Given the success of previous television-inspired musicals, such as the hugely popular Great British Bake Off: The Musical, it makes perfect sense that someone has finally had the idea of turning this TV classic into the next big fringe musical hit.

The team comprises writer and lyricist Sam Norman, composer Aaron King, and is co-created with Nell Butler and Genevieve Welch, who both work directly on the actual TV show itself. It all starts with the TV crew – producer, camera, and sound operator – farcically falling about the auditorium as the audience take their seats. The show starts and there’s a problem: the nation loves Come Dine With Me, but ratings aren’t what they used to be, and the producer Mary (Daniele Coombe) needs something really special to happen to maintain the show’s success. The format then follows that of the TV show: four contestants take it in turns to host a dinner party, each getting a score from the others, and the winner receives a £1000 cash prize. The writers do a neat job at briefly packing this exposition into the start of the narrative, just to make sure anyone who hasn’t seen the show is caught up. What follows is a bit different though. As the nights begin the contestants are being sabotaged by someone, but who? A nightmare for the contestants, this becomes an opportunity for peak TV drama for Mary.

I’m a slight cynic when it comes to big title musical adaptations based on reality TV shows, but turns out I had nothing to fear with this one. The songs are excellent, with some cracking lyrics; Teddy (Harry Chandler) self-describing as ‘a virgin on the verge of turning into a hermit’ as a standout line.

Sure, there’s not much depth to the story, but with a slick 60-minute run time you don’t need it really. The cast give fantastic performances. Coombe’s vocals are electric and her stage presence commanding, with a semi-villainous number giving her a real opportunity to shine.

The top performance though comes from Chandler as Teddy, who plays the awkward nerdiness to perfection. He makes his body small and wriggly, and is charmingly adorable in his interactions with love interest Janey (Sophie Hutchinson). His vocals are incredible, with a rich, deep voice that is tightly controlled and a joy to listen to. I was going to add that he’d make a superb Enjolras in Les Mis, but a quick CV search shows he’s actually played the part already! And no surprise there. Chandler and Hutchinson delight with their duet singing ‘We could drink champagne, we could light a candle, we could share a meal, when the world feels inhumane.’ It’s a real highlight of the show.

Some of the characters feel more fleshed out than others. Kim Ismay is a lot of fun as the stiff upper-lipped Barbara and her song about cooking French cuisine is a hoot. It would be great to see the other contestants developed a bit further for the show’s future life, which I really hope this gets as it’s an absolute treat.

Tag Archives: Mark Senior

ONE SMALL STEP

★★

Charing Cross Theatre

ONE SMALL STEP at the Charing Cross Theatre

★★

“Milla Clarke’s slowly revolving set reflects a narrative going round in circles”