Imaginary - Review

The Other Palace, London


*****


Music & lyrics by Stuart Matthew Price

Book & lyrics by Timothy Knapman

Directed by Shaun Kerrison

Tom Price and Josh Gottlieb

“Never Leave A Man Behind” is the pact made at the very start of Imaginary. A simple declaration of trust, loyalty and friendship that in many ways lies at the core of this endearing zany, and almost Pixar-esque musical, a show that marks the 2017 return of the National Youth Music Theatre (NYMT) to London’s The Other Palace. 

Creating good new musical theatre continues to be a challenge across the industry, but Timothy Knapman and Stuart Matthew Price can be deservedly proud of their achievement. Knapman’s book and lyrics indulge in glorious wit and charm, complete with thrilling revelations and even the odd cliff hanger. Price has written an equally dreamy score, with melodies that you can’t help but find yourself whistling all the way home. Under Shaun Kerrison’s direction the NYMT company (ages 11 – 23) rise to the challenge of putting on a new musical with apparent ease. Kerrison captures the natural energy of the youngsters at all the right moments, yet never loses sight of the show’s clarity. 

Imaginary follows the friendship of two young boys, Milo (Tom Price) and Sam (Josh Gottlieb). As Sam’s only friend the pair do everything together, playing all day and letting their imaginations run wild. It all seems too good to be true until Sam starts secondary school and he and Milo find themselves facing a whole new dilemma.  

Aged 13 and 11 respectively, Price and Gottlieb turn in compelling perfomances that drive the show’s sense of adventure and discovery from the start. Their energy makes the piece a rollercoaster for audiences, played out against a backdrop of the universally recognized concepts of imagination and childhood. There's some great work too from 11yo Lizzie Wells as Sam's schoolfriend Alice. 

Alongside the child characters, Robin Franklin as the school’s Headmaster commands both his students and the stage with a frightening presence and character. Toby Turpin also delivers a dazzling performance as the 7ft (!) tall Big Brenda, giving a performance that’s even bigger than his colossal outfit and wig (costume credit: Jason Denvir) 

The tunes are gorgeous with She Played Guitar, Imaginary, The Adventurers Code and Upgrade Time all proving equally wonderful numbers, the latter in particular featuring some stylish choreography from Anthony Whiteman. Among the entire cast there isn't a weak link, with Charlie Ingles having done some cracking work, both on the ensemble’s harmonies as well as the score's orchestrations. 

At a time when many producers struggle to bring new writing to a stage, yet again the NYMT’s Jeremy Walker delivers just that. Both book and score are tremendous and if last night’s audience are anything to go by, Imaginary will be bringing about tears of laughter, sadness and just sheer awe at this company’s remarkable talent.

Runs until 12th August

Reviewed by Josh Adams 

The Battle of Boat - Review

Rose Theatre, Kingston upon Thames


****

Written by Ethan Lewis Maltby and Jenna Donnelly
Directed by Kate Golledge

The Company

The Battle of Boat is a new musical from the National Youth Music Theatre. Set in a seaside town on the English south coast in 1916, the carefree happiness of a group of young children is short-lived as they find themselves discovering more and more about the First World War that is unfolding around them. Their initial response, to join the army, is thwarted as they are inevitably each rejected for being too young. There is one exception however as William, the oldest of the group (played by Jonty Peach), is enlisted and is sent to fight in France.

The tale is of the persistent attempts that the children make to do whatever it takes to help their friend and their country, with Ethan Lewis Maltby and Jenna Donnelly weaving powerful themes of rivalry, leadership and battle. As is the NYMT protocol, the cast and orchestra are entirely comprised of young artists ranging from 11 to 21. The youthfulness of the cast, and of the nation's young generation lost to the Great War, serve to make the scale and impact of the musical even greater. 

With such a strength of talent arrayed across both stage (and orchestra pit) it would be unjust to single out individual cast members. This is not to suggest that the piece lacks standout performances, rather the contrary. There is an infectious emphatic energy amongst the entire company that is tangible from the outset. Director Kate Golledge and choreographer Darragh O’Leary have combined to create some exquisite work both in scenes and songs; taking us from land to stormy seas in the blink of an eye. Golledge ensures that while the script demands a lot from the young performers, their natural innocence and raw juvenile energy is never lost. Alongside a demanding text Candida Caldicot leads the orchestra and company through Maltby and Donnelly’s emphatic score that is almost akin to cinema, such is its grandeur. 

In the vast space that is the Rose, Diego Pitarch’s set sits comfortably, whilst at all times being scarce enough to leave ample space for the show’s controlled chaos that seems at times to overspill the stage’s edge. Illuminated trees and shadows that could in time serve for the ultimate game of hide and seek form the back drop to the piece, while four seemingly plain long wooden containers are used in every possible way under O’Leary’s genius and playful choreography. 

From the epic company numbers to stunning solo moments, each line, note and lyric carries a punch. The company has the audience in the palm of their hand from the word go and under Golledge’s sensitive direction have the audience laughing along with their childish games just as effortlessly as they achieve immense empathy facing the emotional and physical challenges of their journey.

The Battle of Boat is an epic piece of musical theatre. Maltby and Donnelly have made a brave decision in focussing a story about war from the perspective and reactions of a group of children. Credit too to Jeremy Walker who has produced the show and who time and time again ensures that the NYMT’s quality and standard is nothing short of exceptional, across all departments. With only three performances remaining, the show makes a theatrical voyage that is well worth catching.

Runs until 13th August

Reviewed by Andrew Milton

Photo credit: Matt Hargraves

Prodigy - Review

St James Theatre, London


****


Music and Lyrics by Pippa Cleary
Book & Lyrics by Jake Brunger
Directed by Kate Golledge

Callum Howells and Francesca McKean

The National Youth Music Theatre's production of Prodigy at London's St James Theatre offers much to celebrate in Britain's musical theatre talent, both in composition and performing. With lyrics, book and some gorgeous music all from the emerging wunderkinder that are Jake Brunger and Pippa Cleary, the show is themed around an X-Factor type reality TV show – themed around the search for a child prodigy musician. 

The ensuing combination of pushy parents, gifted kids and the celebrity worship of TV has already proved fertile ground for musicals - there are hints of I Can't Sing!, Matilda and even an occasional whiff of Hairspray in the evening’s entertainment - but where NYMT continue to triumph is in assembling a troupe of talented young performers, all under 23 and then exposing them to the creative genius of acknowledged industry experts.

The satire kicks off mercilessly with Callum Howells’ and Francesca McKean's sizzling take on the superficial TV hosts that typically give these shows a pulse. Ridiculing (but not mimicking) the likes of ITV's Dermot O'Leary et al, these two gifted performers, under Kate Golledge's perceptive direction are spot on.

There are too many characters to name and credit in this review - all were excellent, but some are given moments of creative genius from Brunger and Cleary that linger on long after the youthful band's exit music, under the intuitive musical direction of Candida Caldicot, fades away.

Talent show finalists Kate and Luke (Caroline Whittingham and Harry Al-Adwani) provide the unlikely love story of the plot, in a heart-warming tale that sees romance blossom from adversity. Much respect is earned by the bulk of the cast who at times take on some challenging actor-muso responsibilities, with one of the show's most remarkable melodies coming from Al-Adwani's solo on an all too rarely heard vibraphone, providing an almost ethereal treat. Rupert, the villainous contestant of the piece, is played by Jamie Dodd who turns in a very convincing cad.

Jake and Pippa’s collection of parents straddle Britain’s social strata and are cleverly fleshed out. Again, amongst excellence all round, it is Emma Ernest’s Eileen (Kate’s parent) that is gifted the juiciest of roles, the actress punching well above her 19 years in a monstrous take on motherhood that almost suggests a 21st century Momma Rose!

The plot brims with perceptive wit and in Laura Barnard’s alcoholic TV producer Melissa Marconi, another cracking stereotype of the glib media world is brilliantly nailed.

Credit to this show’s creatives – they’ve even managed to throw in a jazz hands showstopper too. Luke Rozanski and Hannah Irvine (14 and 12 respectively and both great violinists) bring the house down with their hilarious younger siblings’ plea, We’ve Got Talent Too. And a worthy mention for Prodigy’s other “Finalists” Amelia Thompson (clarinet) and Seophora Parish (piano), both of whom put in accomplished performances. 

Luke Rozanski and Hannah Irvine

Diego Pitarch has designed an ingenious set that suggests a conservatoire, yet also offers an abstract flair that lends itself across the scenes. When it comes to the TV contest however, James Whiteside’s lighting design, all swooping spotlights across a smoky stage creates the location perfectly - with Darragh O'Leary's choreography remaining a delight throughout, particularly in the impressive ensemble numbers

Bravo to tireless producer Jeremy Walker, for it is largely down to his endeavours that NYMT continues to nurture talent across musical theatre, developing not just performers, but writers and creatives too. Prodigy only runs until tomorrow and if you can get your hands on a ticket you won’t be disappointed.

Runs until 15th August