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SUPERSONIC MAN

★★★★

Southwark Playhouse Borough

SUPERSONIC MAN

Southwark Playhouse Borough

★★★★

“entertains with a heartwarming tale of courage in the face of adversity”

Just to get a couple of things out of the way to begin with. The title of Chris Burgess’ new musical, “Supersonic Man”, is misleading. So is the Marvel comic styled publicity artwork. Oh, and also the backdrop of David Shields’ set that depicts an over-sized ‘Greetings from Brighton’ postcard. None of this does remotely does what it says on the tin. Whether intentional or not, that is in fact a blessing. If you ignore the packaging and leave behind any preconceptions you might have, you are in for a real treat.

The ‘supersonic man’ in question is a young chap called Adam (Dylan Aiello), living a charmed life with his partner Darryl (Dominic Sullivan) in Brighton, surrounded by good chums Shaz (Mali Wen Davies), Ruth (Jude St. James) and Ben (James Lowrie). It has a feel of the ‘Friends’ sitcom about it, but this dissipates as it morphs through other genres and influences. This chameleon quality is a reflection of the writing. We think it is going to be a biographical account of the real-life character, Peter Scott-Morgan, whose battle with motor neurone disease was famously chronicled in the TV documentary ‘Peter: The Human Cyborg’. But, as Burgess has said, his musical is ‘loosely inspired by’, rather than ‘based on’, Scott-Morgan’s story and consequently reveals more about the human spirit in general.

And spirit is something this musical has in spades. Burgess isn’t afraid to give the serious subject matter a camp, glossy and comedic veneer. One that makes us laugh and tap our feet along to the catchy numbers, but one that doesn’t conceal the message either. Adam and Darryl’s life together is shattered when Adam is diagnosed with the disease. The short and long-term reactions are portrayed with integrity and without sentimentality. Aiello manages to mix the strength of Adam’s resolve to fight with a confused and lost anger that just wants to lash out. Sullivan’s Darryl is the force that keeps him going, along with Davies’ brilliant, no-nonsense Shaz, St. James’ solidly empowering Ruth and Lowrie’s cheerfully mocking yet motivating Ben. Yes, the focus is on Adam, but this is a close-knit ensemble. With a fair bit of multi-rolling thrown in.

The share of the songs is equally democratic, although Sullivan does seem to have been dealt the best hand here. His number, ‘The Life We Live’, is a keenly observed and moving ballad, with a touch of Barry Manilow’s ‘Could it be Magic’. That could well sound like an insult, but in context it is actually a huge compliment. (Oh – a quick note: in the absence of a song list, I’m giving the numbers my own titles… apologies to Burgess in advance if they are misnamed). Later, ‘Give Me A Voice’ is a gem steeped in metaphor and double meaning. The cast may not have the strongest voices, but they do capture the energy and character of Burgess’ lyrics.

Already a successful author and expert in robotics, Peter Scott-Morgan embraced every technology going in order to fight the progression of his disease, using himself as a test subject to help the cause of others with extreme disability. The Channel 4 documentary celebrated the story. Burgess, however, uses the parallel to expose the media’s cynicism. A domestic argument caught on camera is described as ‘TV gold’. One-liners pepper the text that on the surface are throwaways but, on closer inspection, shield a wealth of meaning. ‘I am in denial of being in denial’ quips Adam. ‘Jesus loves you’ he is told, to which he wryly replies, ‘tell him he’s not my type’. As the show progresses, the comedy gives way to poignancy. ‘I want you to be my lover, not my carer’. The show also drifts away from reality into dreamscape, reminiscent of the Bob Fosse ‘All That Jazz’ biopic. While Adam lies on the operating table, we witness his thoughts and dreams during a surreal, out of body sequence.

Richard Lambert’s atmospheric lighting constantly adapts to the varying sequences of the show, while musical director Aaron Clingham’s arrangements suit the mood of each number. Some of the musical staging is a bit repetitive and overall, the show does have rough edges. An epilogue feels like an afterthought, but it is still deeply moving, and the show is truly celebratory. We have spent the best part of two hours laughing (sometimes guiltily) and enjoying some catchy tunes. We have also been surreptitiously given a lesson. Sly, eh? Still, they say the best way to get people to listen is to entertain them. “Supersonic Man” definitely entertains with a heartwarming tale of courage in the face of adversity, with a powerfully honest love story running through it.



SUPERSONIC MAN

Southwark Playhouse Borough

Reviewed on 11th April 2025

by Jonathan Evans

Photography by Louis Burgess

 

 


 

 

 

 

Previously reviewed at this venue:

WILKO | ★★★ | March 2025
SON OF A BITCH | ★★★★ | February 2025
SCISSORHANDZ | ★★★ | January 2025
CANNED GOODS | ★★★ | January 2025
THE MASSIVE TRAGEDY OF MADAME BOVARY | ★★★ | December 2024
THE HAPPIEST MAN ON EARTH | ★★★★★ | November 2024
[TITLE OF SHOW] | ★★★ | November 2024
THE UNGODLY | ★★★ | October 2024
FOREVERLAND | ★★★★ | October 2024
JULIUS CAESAR | ★★★ | September 2024

SUPERSONIC MAN

SUPERSONIC MAN

SUPERSONIC MAN

Oklahoma! – 4 Stars

Oklahoma

Oklahoma!

Gordon Craig Theatre, Stevenage

Reviewed – 30th August 2018

★★★★

“A hugely talented cast takes us through a story of ‘love conquers all’ covering some stunning musical numbers and delightful dance routines”

 

It is hard to imagine that a musical set in 1906 and as far removed from 21st century living as you could imagine would still draw an enthusiastic and appreciative audience. Initially brought to the stage seventy five years ago, Oklahoma!, the first musical written by the famed team of Richard Rodgers and Oscar Hammerstein II, is currently being performed at Stevenage’s Gordon Craig Theatre. Set in an American Western/Indian territory and before the formation of the new state of Oklahoma in 1917, it tells the story of farm girl Laurey and her courtship by two rival suitors, cowboy Curly and the slightly sinister farmhand Jud. 

Upon entering the theatre the audience is greeted with an impressive full stage farmyard set and whilst slammed doors sometimes wobbled the structure, it never detracted from the overall enjoyment of this well known musical. I was particularly impressed with the inclusion of a ‘surrey with a fringe on top’.

A hugely talented cast of twenty two takes us through a story of ‘love conquers all’ covering some stunning musical numbers and delightful dance routines. Fans of musical theatre will be acutely aware of the standout songs from this show. From Oh, What a Beautiful Mornin’, The Surrey with the Fringe on Top, People Will Say We’re in Love, The Farmer and the Cowman to the rousing finale Oklahoma, each are performed perfectly with meticulous professionalism.

Carrie Sutton (Laurey) has a wonderful singing voice and gave a faultless starring performance. Joshua Gannon (Curly) has a fine range holding his own solos well and together they wonderfully complimented each other. Alice Redmond (Aunt Eller), Connor Ewing (Jud), Lisa Bridge (Ado Annie Carnes), Jeremy Batt (Will Parker) and Joe Leather (Ali Hakim) competently take on the main supporting roles.

Director Catherine Lomax drives the production along well and the evening never misses a beat. The choreography from Khiley Williams is a joy to watch. Special mention must go to Musical Director Rob Scott and the sixteen strong orchestra for performing the music from composer Richard Rodgers with absolute perfection.

Individually and collectively this talented group of performers certainly brings a West End feel to a provincial theatre. It should be noted that the venue is only a twenty minute train journey out of Kings Cross / St Pancras. It certainly is worth visiting!

 

Reviewed by Steve Sparrow

Photography by Martin Smith

 


Oklahoma!

Gordon Craig Theatre until 8th September

 

 

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