The Burnt Part Boys - Review

Park Theatre, London


*****


Music by Chris Miller
Lyrics by Nathan Tysen
Book by Mariana Elder
Directed by Matthew Iliffe

Grace Osborn

In the first musical to be staged at Park 90, the Park Theatre's smaller space, The Burnt Part Boys proves to be one of the finest examples of Off West End musical theatre.

The tale is a simple premise. Ten years after a Texan mine disaster killed a team of miners whose bodies were never recovered, the mining company announce that scene of the tragedy is to be re-opened for exploiting. Pete, the young son of one of the dead men is distraught at the idea of his father's grave being treated so sacrilegiously and sets off to dynamite what remains of the seam and frustrate the company's plan.

It is the ingenious and credible way in which Elder, Miller and Tysen thread some of humanity's most raw emotions through their text that makes this musical so strong. Not only Pete, there are his friends, his brother (now a miner himself) and appearing at times through the show, a haunting ensemble of the ghosts of five dead miners, robbed of their families who in turn were robbed of their husbands and fathers.

Not only a strong libretto, the show under Matthew Iliffe's direction, is also staged perfectly. Rarely has a stage set of such stark simplicity (suspended ropes and lanterns setting the scene alongside a handful of chairs - bravo designer Rachel Wingate) worked so imaginatively alongside flawless performance work. Through their performances alone the cast convey us over rivers, along precipitous ledges and deep into mineshaft caves.

All ten actors are magnificent. Joseph Peacock's Pete is a masterclass in youth, conveying not only the impetuousness of his age, but also a fierceness of passionate devotion to his dead father. Heenan is his young friend Dusty who also turns in a neat tune on the saw. As Frances, a girl of Pete's age who also lost her father and ran off into the hills, Grace Osborn is a revelation. Osborn is completely convincing as a feisty yet tender hillbilly. There is memorable work too from Chris Jenkins as older brother Jake and David Haydn as the enigmatic fantasy creation of Pete's imagination and the ghost of his father, with gorgeous vocal harmonies from all.

Nick Barstow's musical direction is masterful. In an environment that has had its sound designed excellently by Philip Matejtschuk, Barstow's 5 piece band which could so easily dominate the compact space in fact create the perfect Texan sound. Katherine Robb's fiddle playing is exquisite while Felix Stickland's guitar work (and, hurrah, an occasional burst of banjo too) offering up moments that suggest a hint of Ry Cooder. 

If ever a show deserved a transfer or extension this is it. The Burnt Part Boys is perceptive and exciting, with a denouement that is as unexpected as it is both heartbreaking and uplifting. Exceptional, unmissable musical theatre.

Runs until 3rd September

Whistle down the Wind - Review

Union Theatre, London

****

Based on the novel by Mary Hayley Bell
And the screenplay by Willis Hall and Keith Waterhouse
And the film by Richard Attenborough and Bryan Forbes
Adapted by Russell Labey and Richard Taylor
Music and lyrics by Richard Taylor

Whistle Down The Wind is a moving tale of trust and belief. When young Cathy discovers an injured man in her father’s barn who cries out in pain, 'Jesus Christ!', she takes his exclamation literally. As her siblings and peers come to believe that Christ is truly living in the barn, so too does the cynicism of their parents grow – and amidst questions of faith, immortality and humility, the musical builds to a troubling stand off between parents and children. It’s a powerful story, presented in the Union’s intriguing confines with an economic elegance and sensitivity.

Most of the musical plays out through the eyes of Cathy,  played by Grace Osborn and her siblings Charles (Alex James Ellison)  and Nan (Imelda Warren-Green). It’s a massive responsibility for the three performers to shoulder but they bear it well. Their connection and bond is enchanting to watch, whilst their child-like characters convince completely. If their singing occasionally lacks energy and volume, their acting shines.  

Sasha Regan’s direction is well honed, coaxing tears from her actors and building to an ending that is genuinely frightening. The all-adult cast perform the child roles effectively with the Nativity scene, led by a weary teacher played hilariously by Danielle Morris, proving a stand out moment.

The Union's simplistic and bare space was the perfect setting for this humble story, with subtle changes in set and costume being cleverly executed, a wooden thatched divide contributing much to ambience and setting were very cleverly done. David Griffiths band delivered the (much underrated) score beautifully.

There is much that is touching and surprisingly witty in Whistle Down The Wind. Bravo for a simple story, told with passion and which proves to be another fine example of the quality to be found in London’s fringe.

Runs until 21st February 2015 

Love Story - Review

Union Theatre, London

***

Music and additional lyrics by Howard Goodall

Book and lyrics by Stephen Clark

Directed by Sasha Regan

David Albury and Victoria Serra

Following on from the extremely successful run of The Dreaming and with Girlfriends in hot pursuit, Love Story is the second in the Union's three part Howard Goodall season. Whilst it is always refreshing to see venues supporting British writing and despite its nomination for an Olivier back in 2010, one cannot help but feel that there are still some holes in this classically cheesy plot that are holding the production back.

An adult fairy tale from the 1970’s, Erich Segal’s novel, famously filmed starring Ryan O’Neal and Ali MacGraw and helped in no small way by Francis Lai’s Oscar winning theme, imprinted itself upon the baby-boomer generation and in the show Stephen Clark’s book makes a grand attempt to capture the dreamy yet doomed relationship between Victoria Serra’s working class Jenny and the more patrician Oliver.

Serra’s performance is executed well, flitting effortlessly from “feisty with attitude” to the slightly more delicate young innocent, swept up in the passion of an exciting romance. She demonstrates her vocal versatility and strong stage presence almost instantly in Jenny’s Piano Song, later showing an equally impressive but far more tender side in Nocturnes, a scene that is stunningly complemented by Iain Dennis’ lighting.

In slightly awkward contrast, David Albury brings an uncomfortable harshness to Oliver. There is no doubt that both Albury's chiselled looks and singing voice are wonderful, but at times one feels that a greater sense of anger, or even heartbreak is required to truly reflect not only the story's tragic ending, but also the difficult relationship, universally recognisable, that he has with his parents.

Regan directs well. She knows her beloved space intimately, ensuring that every inch of stage is used to great effect, never more so than in the opening and closing number What Can You Say? where the full company create a splendid ensemble sound, even if there seems to be just a hint of Blackrock from Goodall’s The Hired Man creeping in to the melody.

Special mention also to the female ensemble of Tanya Truman, Grace Osborn and Ellie Ann Lowe. Their voices combine beautifully as they watch the lovers’ romance develop, providing an almost Chorus like narrative, backed delightfully throughout by Inga Davis-Rutter’s exquisite musical direction.

Bring tissues and a significant other, a visit to the Union’s Love Story makes for a great date!

Runs until 25th October 2014

Picture by Darren Bell