Tag Archives: Timothy Knapman

BEFORE AFTER

β˜…β˜…β˜…

Southwark Playhouse Borough

BEFORE AFTER at Southwark Playhouse Borough

β˜…β˜…β˜…

“Director Georgia Rankcom steers the show deftly through its ninety minutes, not allowing it to drag, and the overall show claims a unique quality”

From the moment Ben and Ami meet on a hillside we know we are looking out onto a lush, Romcom landscape. A warm glow washes over us as the filmic, easy-listening chords are plucked from the piano, cello and guitar accompaniment. The dialogue is snappy and the premise is quirky. The delivery is faultless and at the same time effortless. We hope we are going to be jolted out of our comfort zone, but instead of being challenged, we allow ourselves simply to be drawn into the story. Which is a delight, in no small way due to the polished performances of Jacob Fowler and Grace Mouat.

The chance meeting on the hillside is preordained. Ben and Ami have both been here before. Ami remembers everything but Ben is a blank canvas. The backstory is revealed swiftly enough, and it is now up to the couple to piece together their second chance at a happy ending. Ben has the disadvantage. He remembers nothing of their past relationship due to amnesia caused by a car accident just at the point things were starting to go horribly wrong with them. Ami decides not to reveal their past together, leading him on for too long. Her reasons are slightly implausible, but a necessary device to stoke the narrative with the tension it needs.

The story swings back and forth from the present to the past, each episode giving us more insight into the β€˜before’ and β€˜after’ relationship. There are the usual pitfalls, jealousies and arguments, but Timothy Knapman’s crisp and often witty text give them a fresh makeover, and Fowler and Mouat pitch the characterisation with a relaxed authenticity. They are both highly watchable and in fine voice throughout. Refreshingly no amplification is used, and the balance is spot on as the couple project over the trio of musicians. There is a chamber music quality that allows Stuart Matthew Prices’ lyrics to reach us, unfiltered and crystal clear.

There is a comfortable predictability and solutions become a bit oversimplified, that we long for more hazards, or twists, to trip us up. Similarly, the score drives along at a safe rate with few gear changes. Nevertheless, there is much to enjoy, not least the chemistry between our two lovebirds. Director Georgia Rankcom steers the show deftly through its ninety minutes, not allowing it to drag, and the overall show claims a unique quality. During the moments of dialogue, we look forward to the next musical number, and during the songs we look forward to the next spoken scene. In no way a criticism of either, it is testament to the fine balance and connection between lyricist, composer and writer. Scenes mould seamlessly into song and vice versa, just as past and present intertwine as though in a well-choreographed waltz. Lines are echoed and repeated, taking on a new meaning depending in which time zone they are spoken.

Originally produced at the same venue during lockdown as a live streamed rehearsed reading, the reception back then was one of eager anticipation for the show to be fully realised on the stage. That was before, and this is after. The show feels as though it is still somewhere in the middle, and there is still another β€˜after’ to come. A central premise of the musical is the question that asks, β€˜is what comes after better than before’. This revival affirms the positivity that the story reflects, and we look forward to it standing the test of time.


BEFORE AFTER at Southwark Playhouse Borough

Reviewed on 9th February 2024

by Jonathan Evans

Photography by Danny Kaan

 

 

Previously reviewed at Southwark Playhouse venues

AFTERGLOW | β˜…β˜…β˜…β˜… | January 2024
UNFORTUNATE: THE UNTOLD STORY OF URSULA THE SEA WITCH A MUSICAL PARODY | β˜…β˜…β˜…β˜… | December 2023
GARRY STARR PERFORMS EVERYTHING | β˜…β˜…β˜…Β½ | December 2023
LIZZIE | β˜…β˜…β˜… | November 2023
MANIC STREET CREATURE | β˜…β˜…β˜…β˜… | October 2023
THE CHANGELING | β˜…β˜…β˜…Β½ | October 2023
RIDE | β˜…β˜…β˜… | July 2023
HOW TO SUCCEED IN BUSINESS … | β˜…β˜…β˜…β˜…β˜… | May 2023
STRIKE! | β˜…β˜…β˜…β˜…β˜… | April 2023
THE TRAGEDY OF MACBETH | β˜…β˜…β˜…β˜… | March 2023
SMOKE | β˜…β˜… | February 2023
THE WALWORTH FARCE | β˜…β˜…β˜… | February 2023

BEFORE AFTER

BEFORE AFTER

Click here to see our Recommended Shows page

 

Midnight – 5 Stars

Midnight

Midnight

Union Theatre

Reviewed – 11th September 2018

β˜…β˜…β˜…β˜…β˜…

“a highly impactful, beautifully-crafted musical”

 

It is the last moments of 1937 in Soviet Azerbaijan and the clocks have stopped. The neighbour has just been taken away but Man (Colin Burnicle) works for the Party and has just received protection. Him and Woman (Norma Butikofer) are ready to open their black market champagne when they hear a knock on the door. Someone has a quota to fill. And he isn’t from the NKVD.

Based on the play β€˜Citizens of Hell’ by one of Azerbaijan’s leading literary voices, Elchin, Timothy Knapman (book and lyrics) and Laurence Mark Wythe (music and lyrics) have created a highly impactful, beautifully-crafted musical. What are people prepared to do to survive, it asks, and how many lies are people prepared to tell those closest to them? As the couple are forced to face what they have each done, a harsh light is shone on this culture of fear and the limits that it pushes people to.

The fantastic actor-musician ensemble, dusted in white, edge the space, a perpetual haunting presence as they revolve between victims of the purges, colleagues and friends. Leon Scott’s visitor is enthralling onstage. He has an infectious presence and an irresistible charm, that feels wonderfully dichotomous against the chaos and confusion he leaves in his wake. Burnicle and Butikofer as the couple cracking beneath the pressure of their revelations, deliver nuanced and convincing performances, as the characters are pushed to their extremes.

Elliot Squire’s set raises their apartment just slightly, a traditional setting complete with a lounge area and dining table. The edges of this space are illuminated, a contemporary finish that creates a thin boundary between the ever-present ensemble and the central set. Stalin’s image hangs large and high above the stage.

It’s an unusual topic for a musical but one that translates surprisingly well. The score meanders between eerie musical moments lead by the ensemble, playful musical comedy segments, and more moving ballads from the couple. There is a lovely simplicity within the score that feels necessary to both the intimacy of the narrative and the size of the space. It is also delivered by a highly competent group of vocalists and musicians.

Moving us with ease between thriller, comedy and drama, this is a complex, well-crafted new musical, delivered by excellent performances, under the strong direction of Kate Golledge.

 

Reviewed by Amelia Brown

Photography by Lidia Crisafulli

 


Midnight

Union Theatre until 29th September

 

 

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