Tom Francis Archives - Page 10 of 19

[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

★★½

“the show is so busy trying to shout about how controversial and important it is that it disregards actually saying anything of meaning”

Calf 2 Cow’s mission statement for BackPAGE on their programme sets the scene for an intellectually and emotionally provocative piece of theatre that pushes boundaries and deepens the audience’s perspectives on important issues. Unfortunately, these lofty aims are left unfulfilled by promising design that is let down by a vague and naive script from Matt Emeny.

BackPAGE follows the story of Lucky (Holly Fripp), a girl from SmallTown who gets embroiled in the sex trafficking schemes of La Pa (Michael Difford) and Scab (Colleen Hedley) in a trip to BigCity. The plot appears to riff off Alice in Wonderland as Lucky arrives in a strange world and is bandied around from situation to situation, but it lacks the specificity and detail in the world it’s trying to create to feel coherent; it contains too much absurdity to be the realistic, but never sets out the logic on which this created world operates. As such, the status quo of the world, its rules, and the consequences of actions feel muddy and undefined.

The show features a wealth of in-yer-face-esque moments containing violence, sexual assault, and other depictions designed to discomfort the audience, but they feel devoid of heft as they often give the impression of being provocative for provocation’s sake, and not to lend gravitas to deeply important issues. BackPAGE’s claim of interrogating the everyday horrors of sex trafficking feels hollow when the show appears more concerned with shocking the audience with its style than with its substance, and subsequently comes across as under-researched, exploitative, and naive to the sensitivity required in portraying such serious subject matter. This is evident in the script’s treatment of its female characters – specifically Lucky, who spends a significant portion of the play in just her underwear, and possesses almost no agency, instead always serving as a subject to someone else’s agenda and never having one of her own to pursue.

BackPAGE has a woman-centric issue displayed here through a male gaze, which is personified fully in the character of La Pa – an elite who abuses his power and privilege in heinous ways, who is never challenged, nor ever faces any negative consequences for his actions as part of a system perpetuating disturbing problems.

As La Pa, Difford appears to be having a little too much fun in his performance, heightening the sense of obliviousness to the subject matter found in the script, but other performances do help greatly to add a sense of weight to the writing. Tommy Carmichael is immensely energetic and engrossing as Lucky’s boyfriend as well as her father, and Fripp as Lucky manages to bring elements of distress and humanity to a story that feels in dire need of it.

It’s a shame that the writing wasn’t more mature and sensitive, as BackPAGE pulls off a number of elements with aplomb; Emeny’s direction and design make each scene feel unique with a minimalistic and inventively utilised set, that with the help of Connor Sullivan’s lighting paint a number of environments swiftly and effectively. However, these aspects don’t achieve their full effect as the show is so busy trying to shout about how controversial and important it is that it disregards actually saying anything of meaning.

Reviewed by Jake Moran

Photography courtesy Calf 2 Cow