A fresh perspective in musical theatre that takes several innovative swings – but ultimately misses the emotional punch.
Get Up, Stand Up! is a bold musical with an extraordinarily talented cast and crew, but it is disappointingly hampered by fatal flaws in its script. I must preface this review by noting that I went into this show without much prior knowledge of Bob Marley and his life, which has a distinct impact on my perspective as a reviewer and audience member.
Get Up, Stand Up! makes several groundbreaking decisions that are truly innovative for a West End musical. The performance begins before the curtain rises, as actor Daniel Bailey whips up the audience ready for the show. His easy charisma is infectious and quickly has audience members shouting out answers to his questions, breaking through the formality of the proscenium arch theatre. It is also an important moment in establishing the perspective of the piece; as Bailey riffs on Jamaican slang terms and jokes about audiences not understanding the thick Jamaican accent, there is a crucial underlying message – this show is unapologetically Jamaican, and it will not dilute itself for white audiences. Delivered gently through comedy, it is an effective way to set clear expectations – a testament to director Clint Dyer – and feels like a powerful statement for a big budget commercial venture.
The show continues to reject theatre norms when the curtain does rise, as we are introduced to each cast member and which character they will play. Again, this completely changes the atmosphere in the theatre. Giving recognition to each member of the cast – irrelevant of size of role – before the narrative begins fosters a sense of community within the ensemble, and creates a kinship with the audience from the offset. The cast of Get Up, Stand Up! is almost entirely made up of Black performers; as the West End continues to offer very few roles for Black talent, this roll call in recognition of each of the amazing performers on stage feels purposeful and celebratory. This sense of celebration carries through into the rest of the show. The piece is firmly rooted in Jamaican culture, although the narrative setting moves through various countries, and this is foregrounded visually through the prominence of the Rastafarian colours of red, green and yellow. The lighting (by Charles Bafour) relies heavily on these three striking colours, as does the costume design (by Lisa Duncan). Duncan does a fantastic job of treading the fine line between creating an identifiable colour palette whilst avoiding over simplicity by mixing in other bright Caribbean patterns.
However, whilst the world of the production is fully realised, the story is critically underdeveloped and lets down such a talented creative team. The pacing is bizarre, with the first half flying through a series of pivotal narrative moments without pausing for breath. A young Bob Marley is sent away by his mother, but before it has time to pack an emotional punch, he is reunited with her; he meets Rita Marley and within the same song, they are married – but only a few minutes later, he begins an affair; he begins a band with two friends, and they break up almost immediately. The speed with which we cycle through what should be significant emotional beats is at direct detriment to our ability to connect with these characters. Indeed, in the second half we return to the scene of Bob and his mother – but this time, Marley’s mother is given a song to mark the occasion. The difference is palpable, as the scene gains a real emotional resonance: the question is, why were we denied this in the first instance? I think it is likely that the writing assumes audience familiarity with Marley and his history, relying on the existing emotional connections that audiences bring with them to the theatre, rather than actively developing these connections on stage.
That said, one thing that the script does deserve credit for is its acknowledgement of Marley’s flaws. Any piece of media based on one artist’s life is at risk of putting them on a pedestal and forgetting their humanity. Get up, Stand up does not shy away from asking hard questions: his former band mates question his pursuit of white audiences; his wife highlights that Marley has failed to raise his own children, just as he was abandoned as a child; we see him lash out in violence. This nuance is impressive to see and should be applauded.
With a less dedicated cast, such significant narrative issues would floor the show. And yet, the sheer talent shines through despite it all. Michael Duke is an excellent Bob Marley, carrying the show with a relaxed confidence and charm. The chemistry between Natey Jones and Jacade Simpson (as Peter Tosh and Bunny Wailer, Marley’s band mates) is so much fun and brings the energy needed at the start of the show. However, the standout performance comes from Gabrielle Brooks as Rita Marley. Her powerhouse voice is phenomenal. Brooks’ rendition of ‘No woman no cry’ in the second act is a musical highlight and has such raw emotion behind it. I can’t wait to see what she does next – this is one to watch.
In conclusion, this is a difficult review to write. I so wanted to love this show, with its bold direction, powerful performances and joyous atmosphere. And it was an enjoyable evening of entertainment, that Bob Marley fans will no doubt love – but it could be so much more.
Get Up, Stand Up! The Bob Marley Musical plays at the Lyric Theatre until Sunday 8th January 2023, before embarking on a UK tour. Click here for tickets and more information.
