Tag Archives: Renée Lamb

Be More Chill

Be More Chill


Shaftesbury Theatre

Be More Chill

Be More Chill

Shaftesbury Theatre

Reviewed – 6th July 2021



“an undeniably addictive show”


Based on Ned Vizzini’s 2004 novel of the same name, it is difficult to watch the musical adaptation without the added poignancy wrought from the knowledge that Vizzini took his own life at the age of thirty-two. He was aware that the musical was being produced – indeed even excited at the prospect. Writer Joe Tracz and composer and lyricist, Joe Iconis, had just finished the first draft when they learned about the author’s death. Sadly, he hadn’t yet heard any of the music, much of which represents Vizzini’s personal struggles.

It’s hard to know how much of the innate sorrow washes over the audience’s head. “Be More Chill” is unquestionably aimed at the younger demographic, and one hopes that it speaks to them more directly than the whoops and cheers that accompany the action suggests. There is a superficiality that belies the subtext and, whilst you cannot ignore the sheer entertainment value of the production, it would be a shame to belittle the significance. As a (slightly) older member of the audience I try to put myself in a younger pair of shoes. Yes, I can argue that there’s nothing ground breakingly new here, but the freshness of Iconis’ music and lyrics, with Tracz’s book pull you in to the story; a pull made more forceful by the strength of the performances.

Stephen Brackett’s production focuses on two high school characters doing their best to try to fit in: Jeremy; who is on a quest to find acceptance, initially with a self-absorbed disregard of anything or anybody else (cue the scope for redemption), and Michael who is more accepting of his oddball status. Jeremy is persuaded to try a new pill called SQUIP (Super Quantum Unit Intel Processor) which imports a supercomputer into the brain and instructs him how to achieve the self-confidence he needs. It is a short cut to the popularity he dreams of but, being a heavy-handed metaphor, comes with the predictable downfalls. Michael is sceptical. What follows is a weird and sometimes wonderful storyline that is a mixture of high school musical and sci-fi fantasy.

Scott Folan’s Jeremy is a perfect mix of charm and angst, susceptibility and awareness. The standout is Blake Patrick Anderson as Michael. The audience cannot fail to be gripped by his show stealing performance, particularly during the most recognisable number, ‘Michael in the Bathroom’. Yet each cast member shines in their own way. Stewart Clarke as the personification of ‘Squip’: an intended pastiche and homage to Keanu Reeves in ‘The Matrix’. Miracle Chance illuminates the stage as love interest, Christine, while Christopher Fry delights as Jeremy’s father – trouser-less but nevertheless still ‘wearing the pants’.

The characters are brought further to life by Alex Basco Koch’s video projections which hypnotically convey the altered states of their minds. There are moments when the narrative steers a bit too close to confusion, but the actors pull it back and through song refocus on the heart of the matter. It’s a show of extremes; of suffering and joy, the agony and ecstasy. It’s initial run Off-Broadway failed to ignite its audience, and it simmered silently for a couple of years. Through word of mouth and YouTube clips the soundtrack eventually hit the charts and a cult phenomenon was born. Paradoxically you can understand both receptions. It is an undeniably addictive show, although I can see why some might want to resist it. But if you can cast aside reservations and learn to ‘be more chill’ it is well worth the ‘trip’.


Reviewed by Jonathan Evans

Photography courtesy Be More Chill


Be More Chill

Shaftesbury Theatre until 5th September


Previously reviewed at this venue this year:
Abba Mania | ★★★★ | Shaftesbury Theatre | May 2021


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Ain’t Misbehavin’

Mercury Theatre

Aint Misbehavin

Ain’t Misbehavin’

Mercury Theatre Colchester

Reviewed – 20th March 2019



“The energy that flowed from the musicians was infectious as they recreated the nightlife of the era”


Stepping into the Mercury Theatre to see Ain’t Misbehavin’ was like stepping into the Jazz clubs of Harlem in the 1920s. The smooth tones of the music transported us deep into the life of Fats Waller, the iconic African-American jazz pianist, organist, composer and comedic entertainer. The show, not prescribing to any linear structure or story, explored the musical talents of Waller by embracing a selection of his work including ‘Your Feet’s Too Big’ and ‘The Viper’s Drag.’ The songs were performed by Adrian Hansel, Carly Mercedes-Dyer, Landi Oshinowo, Renée Lamb and Wayne Robinson, who each, with their own impressive array of talents, added a unique flair to every tune. The quality was outstanding, as each performer amazed with their booming voices and effortless dance moves choreographed to perfection by the brilliant Oti Mabuse.

Making his directing debut, Tyrone Huntley proved his creative talents extend to offstage as well as on. He has ensured that every element of the show conveys the period and the true essence and freedom of Jazz.

At first, the absence of a storyline was noticeable and I caught myself thinking that the presence of scripted dialogue could have tied the songs together more efficiently. However, by the second act this thought was disregarded as we journeyed into more slow and sombre numbers.

‘The Viper’s Drag’ was a particularly impressive number, hypnotic as it stirred a silent excitement in the audience. Waller’s words filled the theatre, as Wayne Robinson smoked away, singing about getting high and dancing slickly across the floor. The audience watched as his feet slid across the stage, his body resembling ‘The Viper.’ The song ‘Black and Blue’ delved into the topic of race and importantly touched upon typical white American views towards black identities at the time. The power of the lyrics, “I’m white inside, but that don’t help my case, Cause I can’t hide what is on my face,” created a story and perhaps indicated Huntley’s vision of allowing the music to speak for itself.

It would be criminal not to acknowledge the excellent live band that performed alongside the outstanding cast. The energy that flowed from the musicians was infectious as they recreated the nightlife of the era enhanced by the stunning period set and costume design (takis).

Ain’t Misbehavin’ was hugely entertaining. A beautifully crafted piece of theatre from the Made In Colchester stable reflecting the talents of a bygone era.


Reviewed by Maddie Stephenson

Photography by Pamela Raith


Ain’t Misbehavin’

Mercury Theatre Colchester until 30th March


Previously reviewed at this venue:
The Turn of the Screw | ★★★ | March 2018
Pieces of String | ★★★★ | April 2018
Europe After the Rain | ★★★★ | May 2018
Silence | ★★★★ | October 2018


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