Stunning production values, incredible cast, but the story left me wanting more
It is always impressive and inspiring to see a fully fledged production of a new musical – particularly with a beating British heart. In the stunning new Southwark Playhouse Elephant space, the show sits with ease – as if it were written for the venue.
Side note about the venue – sadly in a brand spanking new space, they have fold-out connected seats (presumably to make the space mouldable) but what that meant is every foot stomp and body shake my neighbour felt compelled to make, reverberated through my seat and distracted me from the show.
An insanely impressive 12 person cast, who play multiple characters and instruments, tell the story of Benjamin Button who was born at the age of 70 and ages backwards. Inspired by the short story written by Scott F Fitzgerald – the title and concept are the only familiarities. Now set in Cornwall at the turn of the 20th Century, the familiar story becomes a folk tale drawn to myth. Exploring themes of war, mining, village life, child loss, love and suicide the show often jumps quickly and doesn’t quite give the audience time to experience the full moments.
With a run time of 2 hours 45 (With Interval) the show is just too long – when trying to fit in so much juxtaposition the story of a whole life – it sadly becomes a little like reading a wikipedia page. Additionally as the cast never leave the stage some moments of intimacy can feel intruded on – like they are put on for show – never really allowing the audience to be a fly on the wall. The cast are also intruders.
Although the whole cast are an impressive troup, it is easy to see why Jamie Parker (Benjamin Button) is an Olivier winner, his charisma and delicacy navigating what could become a caricature is skilled and carries the show. Chemistry between Parker and Molly Osborne (Elowen Keene) is crackling filled with aching, longing and heat. Their first kiss is well worth waiting for. For Parker, what is lacking is character developments which is a failure of the script from Jethro Compton – for someone who leads such a ‘spectacular life’ the character doesn’t grow from any of it.
The rest of the cast cannot be faulted – multi rolling across gender, continents then playing multiple instruments – this truly must be one of the most impressive bunch of performers playing anywhere. Ginny Schiller should get a shout out for hunting them down and getting them in one space!
Anna Kelsey’s costume design does the perfect job of adding a timelessness to the myth of Button. Inspired by seaweed the show’s costumes blend with the incredible set from Jethro Compton. The set sits in the space like it was made for it – the wood and netting transporting you to the location perfectly. What is lovely about this is although the colour palette is dark it allows the honesty of a working class community and gives the characters space to bring the colour.
What steals the night for me is the sublime sound design from Luke Swaffield. From the soundscapes upon arrival to the incredible blend of voices and instruments this is the slickest sound I’ve seen on any show – maybe ever. The nuance of changes between underground and under water, to simply how glorious the vocals are amplified – Swaffield should be the bar to which productions are held.
The music from Darren Clark pulls on that folk sound which features heavily in smash hits such as Come From Away, highlighted more by the range of instruments on show – accordions, whistles, violins. Stand out songs musically are “A Matter Of Time”, maybe because we hear it multiple times but its been an earworm since I left the theatre, also “The Kraken’s Lullaby”, a dark and eerie piece giving a bit more weight to the folksy sound.
My takeaway thoughts are that I would love to see a show from this team, with all these incredible production values, but a story which has more to say and doesn’t leave me going, why this story?