Loserville - Review

Union Theatre, London

****

Book, music & lyrics by Elliot Davis and James Bourne

Directed by Michael Burgen

After perhaps a too short run in London’s West End nearly three years ago, Loserville the British musical written by Elliot Davis and James Bourne and inspired by the Son of Dork album ‘Welcome to Loserville’, bursts back on to the fringe scene in a fresh and exciting production at the Union Theatre. Transporting us back to 1971 and the geekishly wonderful life of Michael Dork, the story isn’t massively unfamiliar in its boy meets girl setup. But what Loserville (a Best Musical nominee at the 2013 Oliviers) adds is a wonderful array of period charm, possessing all the right kinds of awkwardness that quickly turn this show into an exciting musical.

Instantly greeted by our geeks in the opening number Living In The Future Now, the Union’s strong young cast impresses. Leads Michael Dork (Luke Newton) , Holly Manson (Holly-Ann Hull) and Lucas Lloyd (Jordan Fox) give flawless vocal performances throughout, whilst Lewis Bradley’s ‘arch’ nemesis Eddie Arch proves a hit, giving just enough sinister swagger to make the villain of the piece ultimately too hard to hate. Bradley is equally matched by Sarah Covey in her sophisticated approach as Leia Dawkins.

With a strong ensemble, Matt Krzan’s vibrant choreography wonderfully fills the Union’s space, suggesting a brilliant mix of techno drive and high school chic that works extremely well. Bryan Hodgson leads a fine 3 piece band, though there is a slight overpowering in the general mix that occasionally obscures some the ensemble’s fantastic harmonic work. Nothing that cant be fixed, mind.

Helming the show, Michael Burgen is by no means a stranger to the Union. Having previously appeared in the theatre’s acclaimed all male ‘Pirates of Penzance’, he jumps ship quite literally to make an impressive directorial debut. Burgen’s fun, fresh and arguably more home grown approach to the piece, gives it both warmth and heart that the show may have lacked on the bigger stage. Ultimately, its setup of chalk boards, UV paint and VCR props brings out the playful, geekish child in us all and definitely works to the Union’s advantage. 

Loserville isn’t just for geeks. It has a vulnerability that also packs an impressive musical theatre punch. If you love the songs or even simply just missed the show first time around, then catch it now. Together with Davis, (Mc)Busted’s Bourne has written numbers that speak to the teenager in us all. It’s a fun show driven by a great ensemble.

Runs until 21st March 2015

Loserville - Review

Garrick Theatre, London

****

Book, music and lyrics by Elliot Davis and James Bourne

Director: Steven Dexter

This review was first published in The Public Reviews

Eliza Hope Bennett and Aaron Sidwell in the Planetarium

Busting on to London’s West End following a run at the West Yorkshire Playhouse, Loserville is a rare beast, an entirely original musical brimming with innovation. Free of star billings and with no movie or jukebox tie-in, this show stands on the infectious confectionery of its lyrics and a deliciously talented cast.

Staged on an amusingly “low-tech/hi-tech” melee of printed circuit boards, this all-American story – played out in the 1970s – follows teenager Michael Dork, a geeky, youthful, Bill Gates-type character, as he discovers the foundation of internet computer connectivity. Along the way he encounters love, betrayal, jealousy and rivalry, not to mention the villainous scheming of the local rich-kid bully, out to steal his invention. Francis O’Connor’s design, with oversized pencils and notepads, suggests a Matilda, albeit one for high school kids, and the whole visual impression is that of a retro cartoon-style America, in which the digital age has yet to take off.

Responsible for the music and lyrics, as well as the book, are Elliott Davis and James Bourne. Bourne was the creative force behind the UK band Busted and to those familiar with his recordings, the style of his compositions will not disappoint. He has a clever eye and ear for the nuances, angsts and frustrations of teenage life and the songs Don’t Let ‘Em Bring You Down and The Little Things provide amusing vehicles which not only portray the boys’ awkwardness but also describe the teenage girls’ recognition of the testosterone fuelled course that boys typically chart through adolescence. Whilst the bouncing Busted tone and sometimes smutty lyrics are a guilty pleasure to which to listen, the plot does occasionally become more reflective, though plaintive number We’re Not Alone, set in the town’s (beautifully lit) planetarium, fails to move in the way that the writers would have intended. Steven Dexter has directed a show that is a fun and imaginative night out, but is nonetheless a tale that lacks a central passion. The plot pales in comparison with, say, the grand celebration of human diversity that was the bedrock underlying Hairspray. It feels simply too hard, and actually too geeky, for the audience to care too much about the invention of email.

Aaron Sidwell leads the line as Dork, and whilst his acting is convincing, his voice lacks a smoothness that one might expect from a West End production. No doubt as the production settles into its run his vocal performance will mature. Lucas Lloyd is Dork’s closest buddy, and Richard Lowe in this role, presents the most moving portrayal of social inadequacy of the night. His solo number Holly, I’m The One, in which he painfully pines for the girl who Dork is romancing, is perceptive and poignant. As Holly, Eliza Hope Bennett is both convincing and impressive to listen to whilst Charlotte Harwood’s performance as the bitchy girl Leia is also a fun caricature to savour. The astonishing performance of the night however is delivered by NYMT alumnus Stewart Clarke as bad guy Eddie, not only making his professional and West End debut, but filling the shoes of Gareth Gates who had created the role in Leeds. It may well be easier to act the villain, oozing pecs, sex and charisma, but Clarke owns the stage with powerful delivery and superbly controlled poise.

This ball of candy floss of a show undoubtedly makes a fun family treat. Nick Winston’s clever choreography delights and the production will appeal to both those old enough to remember the 70s and those young enough to enjoy the clever songs of Bourne and Davis.

Runs until 2nd March