Robert McWhir Archives - Page 4 of 4

[title of show]

Above the Stag

Reviewed – 15th February 2019

★★★★

“The format of the show is stuffed full of comic and satirical potential”

[title of show] charts the story of writer and composer Hunter and Jeff (Michael Vinsen and Jordan Fox respectively) trying to write a musical with their friends Susan (Natalie Williams) and Heidi (Kirby Hughes) for an upcoming festival and all the trials and tribulations that accompany it. The beautifully meta aspect of the show is that Hunter Bell and Jeff Bowen were actually the creatives behind [title of show], which is the musical they wrote for an upcoming festival – it’s at one point described as ‘a musical about two guys writing a musical about two guys writing a musical’. This provides a delicious sense of spontaneity to the way the action on stage unfolds, as all the characters are aware that they are in a musical that is being written – one character remarks that Susan has been very quiet during the scene, she responds that it’s because she didn’t have a line in the script until now. The format of the show is stuffed full of comic and satirical potential, and moments like this wring all its possibilities fully.

However, the show was originally written in 2004 and has been considerably successful, even making it to Broadway in 2008, and so the second act of the show – which charts the journey of the show following the festival – feels disjointed and not quite as polished as a result. The first act’s blend of snappy dialogue, clever commentary and engaging songs that are fully integrated with the plot and characters are in the second act replaced with a messier concoction that feels more like a play that drags out a contrived conflict between two characters and begrudgingly throws a song in every now and then until the final sequence.

Thankfully, the shortcomings in [title of show]’s writing in the latter half is made up for by stellar direction and performances throughout. Director Robert McWhir takes every opportunity to let the story and the characters shine through, ensuring that the weaker elements feel more fleshed out and that the comedy and pathos is given the full spotlight. His smart staging makes the relatively cosy space feel huge, giving the actors ample room to take advantage of – and they certainly do. Every single cast member delivers an imaginative and encapsulating performance, although Michael Vinsen is especially exemplary in the relatability, drive, and hilarity he brings to Hunter. The only shortfall is that – as the actors don’t have mics – if they are at the opposite end of the space, lyrics can occasionally be lost.

This is a shame, as the music and lyrics are often catchy and clever. Numbers such as ‘Monkeys and Playbills’, ‘Die, Vampire, Die!’, and ‘Nine People’s Favourite Thing’ are all gleefully inventive and, thanks to Oli George Rew’s expert accompaniment, feel vivid and characterful in their composition.

The sheer love of musical theatre and the process of creation that [title of show] displays will make you fall in love with it despite some missteps, and will have you leaving the theatre truly charmed, and a little more inspired in your own dreams and aspirations.

Reviewed by Tom Francis

Photography by PBG Studios

[Title of Show]

Above the Stag until 10th March

Last ten shows covered by this reviewer:

Welcome ..? | ★★★★ | Bridewell Theatre | October 2018

Brat Kids Carnival | ★★★½ | Christmas In Leicester Square | November 2018

Chutney | ★★★ | The Bunker | November 2018

Motherhood or Madness | ★★★ | Katzpace Studio Theatre | November 2018

Specky Ginger C*nt | ★★½ | Katzpace Studio Theatre | November 2018

Pinocchio | ★★ | The Albany Theatre | December 2018

Fight Night | ★★★★ | The Vaults | January 2019

Original Death Rabbit | ★★★★★ | Jermyn Street Theatre | January 2019

Black Is The Color Of My Voice | ★★★ | Trafalgar Studios | February 2019

Soul Sessions | ★★★★ | Trafalgar Studios | February 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★

“remains an entertaining, if slightly dated, queer Christmas show”

The titular crumple zone refers to the part of a car designed to crumple up on impact to protect the people inside. It’s a fitting metaphor for the poor characters in this show who end up bearing the brunt of other peoples’ romantic decisions and works as well for the show itself. Although far from being a car crash, ‘The Crumple Zone’ tiptoes around a compelling and dramatic story, leaving the audience aware of an emotional punch, and yet completely unaffected by it.

Buddy Thomas’ script introduces us to Alex (Nick Brittain), Buck (Robbie Capaldi) and Terry (Lucas Livesey), all struggling actors working crappy jobs to get through the Christmas holidays. Alex is dating Buck, to the ignorance of the long-term girlfriend Sam (Natasha Edwards), and their relationship is put into question when Sam, to everyone’s surprise, returns home from tour on Christmas Eve. Meanwhile, Terry picks up Roger (Fanos Xenofos), another adulterer, using him as a rebound after his repeat rejection from Buck.

It’s certainly comedy caper territory, especially with Livesey’s Terry, whose wisecracking cynicism really makes the show enjoyable. However, Livesey is not matched by his fellow actors, who fail to raise the stakes when it’s needed most. Robert McWhir places his actors effectively, but no one seems affected or changed by the drama surrounding them. This is partly the script’s fault. Not only are a lot of the jokes and cultural references dated (to a Millennial at least!), but we don’t know who to root for. Relationships are simply not set up in such a way to make us care for anyone. The biggest betrayal barely registers for Sam, so why should it register for us? ‘The Crumple Zone’ is only eighteen years old, but it’s representation of gay/bisexual men as either cheaters or callously promiscuous does not hold up well. Not that I advocate only positive representation, but we do hope to see more nuanced characters these days.

All in all, I can see why this play was an “off-Broadway hit” back in 2000. Warm, witty, and with an incredibly watchable performance from Livesey, ‘The Crumple Zone’ remains an entertaining, if slightly dated, queer Christmas show.

Reviewed by Joseph Prestwich

Photography by Joel M Photography