Midnight - Review

Union Theatre, London


***


Music & lyrics by Laurence Mark Whythe
Book & lyrics by Timothy Knapman
Based on the play Citizens Of Hell by Elchin

Leon Scott

Set in Azerbaijan in 1937 and based upon Elchin’s play, Midnight tackles life under Stalin’s terrifying rule where a midnight knock on the door could be followed by trumped up charges of counter-revolutionary activity, torture and in all probability, death. For musical theatre this is an ambitious subject to grapple with and a show seeking to compress Stalin’s grip on the Soviet Union into one small Baku flat on a New Year’s Eve some eighty years ago, needs some sensational songs and narrative if it’s going to pack a punch.

Unfortunately, it’s punches-pulled here, although Midnight does prove to be an evening of two halves. A bunch of (for the most part, talented) actor musos lead a first half that either needs a massive trim or a re-write, before the show comes alive in act two with twists and revelations that mingle Faust with Kafka. The tale is one of those that to even hint at would spoil, suffice to say that combining horror and the supernatural with totalitarian politics makes for an excellent second half cocktail.

Whilst some of the melodies are magical, (Let Yourself Go and The Colonel in particular) there is too much mawkish balladry sprinkled throughout with the first act’s closing number, The Great Machine, feeling contrived and lacking the devastation that should send the audience reeling into the theatre bar for half-time revival.

But within this curious piece, there are some gems. Leon Scott as the Visitor/Officer has a captivating presence that demands our attention in every scene. Perfect in voice and poise, it is Scott’s energy at the heart of this machine. And in a tiny role amongst the musical ensemble Melania Maggiore (who based upon her bio in the programme appears to be making her first UK performance in this show) delivers an absolutely exquisite soprano performance singing Let Me Sleep, matched only by her enchanting work on the violin.

Kate Golledge uses the space imaginatively, with Chris Cuming’s choreography being worthy of its Offies nomination and a rare shout out for a show’s fight director, Jonathan Holby, who with minimal use of props and make up, convinces us of appalling violence.  

The People vs an all-powerful and unfair State has long been the source of good musical theatre (Les Mis anyone?) but this show’s emotional reach rarely ventures out of the shallow waters other than perhaps reminding us of the perils of far-left socialism.

There’s something special around Midnight, but it needs more work.

Runs until September 29th

Photo credit: Lidia Crisafulli

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