There are plenty of musicals about the making of musicals, but few take to the task as literally as this. Jeff and Hunter are an aspirant composer and writer respectively, and both are trying to break into the music business. They set themselves the task of writing a work in only three weeks to make a submission deadline for a festival where this work may be performed. And the book, lyrics and music of the piece will be the process itself in all of its experiment, frustration and creative effort, They team up with friends Heidi and Susan, experiencing similar career precarity, and pianist Larry, and get to work with quirky determination. Even the title is randomly chosen from the application form that requests one – [Title of Show].
For about the first half of the show this works as an engaging and lively formula. Starting from just four chairs and a keyboard, they summon up a whirl of creative and physically dynamic numbers, all illuminated by sassy, witty dialogue that summon up the fizz of New York’s off-Broadway energy. There are ample opportunities for individuals to shine, and for gaudily harmonised collective affirmation. There are many self-referential in-jokes about musical theatre, for those who want to spot them, and indeed stylistically too the music owes a lot to the musical gods, notably Sondheim and also Larson’s ‘Rent’.
But the momentum slackens in the later sections, once the musical succeeds at the festival, and they have to decide where to take it next. Should it be changed or left alone? Should cast members be changed? Does success spoil friendship? The quest for Broadway descends into a series of uncompelling deadends as the tensions between the performers increase once the possibility of real fame and fortune beckons. This is overworked territory, and reveals the dangers of writing and composing about writing and composing – you have to be hugely agile to avoid pastiche and repetition. An ever-receding set of ironic mirrors beckons to the unwary.
That said, the performers and creative team do an excellent job in reviving this show and putting it across with absolute conviction. All four leads are equally strong, and there is a real chemistry between them. Jacob Fowler captures Hunter’s goofy moodiness and camp invention, while Thomas Oxley is a strong, reliable anchor-figure. Abbie Budden takes on the showcase songs of aspiration designed for her character with panache, and Mary Moore impresses equally with detailed characterisation and vocal power. Particular credit should go to Tom Chippendale who packs a real punch on the keyboard whether in elaborate accompaniment or subtle underscore.
The audience seating is always changing at the Southwark Playhouse and, once again, we are inventively rearranged around Hazel McIntosh’s set so that everyone gets a good view of a layout that cannily combines a rehearsal room and suggestions of individual apartments. There is inventive lighting across a broad palette from Alistair Lindsay and a well balanced overall sound. In the first half the songs are a bit too similar in their relentlessly upbeat positivity and flashy verbal dexterity; but in the later sections we find greater variety – paradoxically just as the dramatic impulse falters.
This is a fun evening of very knowing musical theatre, but if you are putting yourselves out there to show and indeed embody how a musical should be written you do need to know how to draw the threads together effectively at the end, and this one-acter ultimately fails that test.
Music & Lyrics: Jeff Bowen
Book: Hunter Bell
Director: Christopher D Clegg
Musical Director; Tom Chippendale
Cast: Abbie Budden, Jacob Fowler, Mary Moore, Thomas Oxley
Until 30 November 2024
90 mins, no interval
Photo Credit: Danny Kaan