Tag Archives: Vikki Stone

High Fidelity


The Turbine Theatre

High Fidelity

High Fidelity

The Turbine Theatre

Reviewed – 1st November 2019



“The pitch is perfect, as is the balance of ballads and foot stompers – the ideal mixtape”


Nick Hornby’s novel, written nearly twenty-five years ago, was an instant hit capturing the mid-nineties zeitgeist when the notion that ‘boys will be boys’ was just beginning to be chipped away by the new sensibilities. This could have been a death blow for the novel, but the emotional intelligence of Hornby’s writing allowed it to endure; its success leading to the millennial film starring John Cusack and Jack Black, and eventually a stage musical. Written by David Lindsay-Abaire with music by Tom Kitt and lyrics by Amanda Green it premiered on Broadway in 2006 but closed after thirteen performances.

Paul Taylor-Mills’ production at the Turbine Theatre has successfully brought the show up to date while staying true to its roots, and it is safe to say that this sensational reinterpretation will not suffer the same fate. Writer and comedienne Vikki Stone has been brought on board to adapt the script and lyrics, relocating the action back to London and reclaiming the inherent buoyancy and playfulness of the story.

The plot focuses on Rob, the owner of a record shop in Holloway, whose girlfriend, Laura, has just left him. Obsessed with compiling lists and ‘mixtapes’, he recalls his five most memorable breakups before Laura, and eventually his self-examination leads to self-realisation and reconciliation. On paper it should be hard to like the overgrown, commitment-phobic problem child that is Rob. His dated sense of male entitlement should rub you up the wrong way in today’s climate, but Oliver Ormson’s winning performance grabs our empathy with both hands.

Supported by an outstanding cast, the laughs come thick and fast. Robbie Durham and Carl Au as Barry and Dick, the part time hired help in Rob’s record store, complement Ormson, creating a trio that could win awards if that was the goal. But there is a self-deprecatory disregard for approval that is reflected in the characters’ relish in working in a shop that has “zero growth potential”. Yet in this mannish world, the women call the shots. Shanay Holmes, as Laura, knows she has the upper hand, but Holmes underscores her fiery independence with a vulnerability that simultaneously softens and strengthens the character.

Tom Kitt’s score mixes pop with rock, heavy metal and Motown, country and soul with a seasoning of rap and R&B. It could easily be a mess but, aided by director Tom Jackson Greaves’ sharp choreography, the eclectic selection of styles has a cohesive whole. It is a feat pulled off only by the close-knit chemistry of the entire ensemble and band of musicians. The pitch is perfect, as is the balance of ballads and foot stompers – the ideal mixtape. In an age of Spotify playlists, it is refreshing to hear references to cassettes and vinyl. David Shields’ set places us in a bygone world of the record shop, before music went online. But the essential truth of music and its undeniable impact on us remains true and keeps this story relevant and timeless. “High Fidelity” is a timely boost of optimism. Rob would put it at the top of his list of reasons to be cheerful.


Reviewed by Jonathan Evans

Photography by Mark Senior


High Fidelity

The Turbine Theatre until 7th December


Previously reviewed at this venue:
Torch Song | ★★★★★ | September 2019


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WhatsOnStage today announce that Simon Lipkin and Vikki Stone will present the 17th Annual WhatsOnStage Awards in the sold-out concert at the Prince of Wales Theatre on 19 February.

Also confirmed today is the full line up of performers with Gary Trainor and company singing ‘Teacher’s Pet’ from School of Rock – currently running at the New London Theatre; Tyrone Huntley performing ‘Heaven on their Minds’ from Jesus Christ Superstar – returning to the Regent’s Park Open Air Theatre this summer;  Joanna Riding performing ‘Scarborough’ from The Girls accompanied by Gary Barlow – currently in preview at the Phoenix Theatre; Amber Riley and Liisi LaFontaine performing ‘Listen’ from Dreamgirls – currently running at the Savoy Theatre; Trevor Dion Nicholas and Dean John-Wilson performing ‘Somebody’s Got Your Back’ from Aladdin – running at the Price Edward Theatre; Ria Jones singing ‘As If We Never Said Goodbye’ from Sunset Boulevard ahead of a new national tour; and the company of Half a Sixpence performing ‘Flash, Bang, Wallop’- currently running at the Noël Coward Theatre.

Harry Potter and the Cursed Child leads the field with 11 nominations – the first time a play has dominated the nominations. It is in the running for Best Actor in a Play for Jamie Parker, Best Supporting Actress in a Play nominations for both Noma Dumezweni and Poppy Miller and Best Supporting Actor in a Play nominations for Anthony Boyle and Paul Thornley, Best New Play, Best Direction nod for John Tiffany, Best Set Design for Christine Jones, Katrina Lindsay for Best Costume Design, Finn Ross and Ash Woodward for Best Video Design and Neil Austin for Lighting Design. Leading the musical theatre categories is Half a Sixpence, with 8 nominations including Best New Musical and Best Actor in a Musical for Charlie Stemp.