[title of show], which is written by Hunter Bell and Jeff Bowen and directed by Christopher D. Clegg, is the perfect musical for musical theatre fans. The show is unapologetically proud of being a passionate musical theatre love letter, and its clever lyrics and passionate characters will doubtlessly leave the audiences just as mesmerised.
The musical follows Hunter (Jacob Fowler) and Jeff (Thomas Oxley) as they embark on writing a musical in three weeks to submit to a musical theatre festival, and their subsequent dreams to take the show to Broadway. With the help of their friends Heidi (Abbie Budden) and Susan (Mary Moore), the duo are ready to defy gravity and all other logic to do the impossible. Oh, and there's Larry (Tom Chippendale), the often forgotten piano accompanist for the show.
[title of show], which is reminiscent of Jonathan Larson's Tick Tick Boom, is incredibly meta, wherein the two writers are quite literally writing a musical about writing a musical. The musical thrives in its meta style, drawing endless laughs from the audience, and proving to one and all just how sharp and intelligent the writing is. The show pokes fun at itself, with characters calling out one another, the script and scene transitions. The hilarious riot that [title of show] becomes just by being the most meta of musicals is astoundingly brilliant, ensuring the simple structure holds the musical tight.
Additionally the references in the musical will delight any musical theatre lover. With what feels like a reference per minute rate, the musical may quite literally be a manifestation of the most passionate of theatre kids. Ranging from the beloved and very popular Wicked, to Shōgun: the Musical, to countless other references so niche and obscure that this may be the first time one hears of them. The song Monkeys and Playbills, however, ramps this even more, creating the entire song out of the names of other musicals, naming over twenty musicals in under four minutes.
The musical also shines a light at unspoken realities of the industry, focusing on how actors, particularly new in their careers, can be expected to cover multiple roles and how networking can make and break a show. The musical may only be 90 minutes, but it ensures that every moment is utilised, and is pumped with energy and enthusiasm throughout.
The four performers do a winning job, managing to both lean into the camp and over the top style of the show whilst delivering earnest performances. Moore as Susan is a goldmine, bringing out such a vibrant and stunning performance filled with wacky lines and sassy comebacks. Her song Die Vampire Die manages to break through, providing the show with a moment of emotional vulnerability (beneath the utter chaos and camp choreography and lyrics).
Heidi is a wonderfully layered character, performed beautifully by Abbie Budden. Her song A Way Back to Then is one of the show's most authentic moments, which is well contrasted by her bubbly energetic personality. Oxley as Jeff is a strong performer, with dominant vocals that are gorgeous, and an often resistant attitude to the madness and mayhem around him. Oxley is admirable in the role, and helps keep the musical exciting.
Fowler as Hunter is a new addition to the cast, taking over the role from George Crawford (who performed in the Phoenix Arts Club run earlier this year). Fowler is a stand out performer, blending his heavenly vocals and emotional and theatrical performance to ensure that Hunter, for all his faults, is such a gripping character.
Chippendale’s Larry is a hilarious afterthought despite being integral to the musical and the story, is hugely talented. His sincere attempts to be included along with correcting the characters during the show are some of the show's best moments. Chippendale, who also serves as the musical director, is situated on stage throughout, accompanying the cast on piano.
The songs themselves are well written, with lyrics that will leave musical theatre fans marvelling at their cleverness and references. Using medleys, choreography, witty lyrics, alluding to other musical theatre songs, and an extremely talented cast, the songs are enjoyable although admittedly not a soundtrack that will be enjoyed much outside of the context of the show.
The staging is inventive, with a small set on stage with Larry, with musical theatre memorabilia and the show's title etched onto it. The set's back wall is colourful and lights up during various scenes. The cast, however, most spend time in front of this small set, where four individual smaller stages have been placed in the four corners of the stage, with chairs placed on top of them.
The musical makes great use of this unconventional layout, by helping create easy accessibility to all the characters at once. Simultaneous conversations and scenes occur with spotlights illuminating the respective characters, allowing for overlapping conversations that add to the brilliance and meta style.
The lighting design (Alistair Lindsay) truly elevates this show, providing dramatic moments that feel so utterly theatrical and cinematic all at once. Furthermore, the quick switches on spotlights when all four characters engage in conversation is a wonderful moment that is quite remarkable. (A shoutout to the company Stage Manager Bee Emery for this scene). The sound design (Ieuan Watkins-Hyde), is just as prominent, especially during scene transitions and the dream sequence, which really helps lean into the amusing features of the musical.
[title of show] promises a great deal, and more than exceeds expectations, resulting in a evening at the theatre unlike any other. The small show feels huge and brilliant and should not be missed. If you like musical theatre, you'll love [title of show]. It is currently playing at the Southwark Playhouse until the 30th November. For tickets and more information, you can follow the link here.
⭐️⭐️⭐️⭐️⭐️ (5*)
Gifted tickets in return for an honest review | photography by Danny Kaan
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