A compelling story about how easily we fall victim to our sins
Sin – An Original Musical is off to a good start. Writer/Director, John-Michael Mahoney has created a compelling character-driven show with a decent soundtrack. The story follows speakeasy owner, Jack Thompson, and his friends as they navigate running a dirty business in New York in the 1920s. The plot progresses much like Golding’s Lord of the Flies with the characters’ sinful actions culminating in the groups’ inevitable implosion.
The set, small but detailed, served the show well and effectively conveyed a myriad of locations. The costumes were also charmingly authentic to the time period and the characters. Joe Roebuck’s lighting design appeared basic but a few smart choices in coloring and spotlight placement strengthened the impact of several of the more poignant scenes. The movement choices during both the songs and the dialogue were brilliant in their simplicity. Rather than choreographing over-the-top dance numbers, Sin kept the movement subtle and wonderfully human; in one number the slow, lingering separation of two characters’ hands was so beautifully done that it sent shivers down my spine.
The majority of the faults I found in this show came from the soundtrack. The show’s soundtrack was pleasant with a few standout songs, but the vocals left something to be desired. With the exception of a few brilliant soloists, the singing was largely mediocre and occasionally flat. Many of the songs, notably those of Sarah (Taylor Quinnell) and Jack (Charlie Toland), felt as though they were outside of the vocalists’ range. Further issues arose from dodgy microphones and backing tracks that frequently drowned out the singers. Despite these struggles the cast, under Musical Director Angelo Deller-Tsocos, harmonised brilliantly and gave some stunning ensemble performances.
Sin was blessed to have a wonderfully talented cast of actors. Each performer perfectly embodied their character and did well with what was, at times, lacklustre dialogue. As always, there were a few who stole the show. Harry Osborne as Michael was the star of the entire musical. Not only did he give a rousing performance as a complex character, he also delivered angelic, powerful vocals. His chemistry with his onstage brother Houston McDowall (Sam) was impeccable. Their story and performance were so compelling that it was easy to forget that the show was meant to center on Jack (Charlie Toland). McDowall as Sam was another standout performer. He perfectly embodied the essence of a 1920s gangster; from the accent to the body language to every movement of his face, he was Jack’s loyal right hand and Michael’s devoted older brother. Applause is also due to George Russell and Alex Webster as the Chorus. Both had remarkable stage presence and strength. In nearly every scene and song, they carried the movement sequences and seamlessly transitioned through an array of ensemble characters.
Overall, Sin – An Original Musical is a very good show. It is driven by a compelling plot and powerful storytelling that keeps the audience on their toes. With some adjustments to the vocals, a better speaker system, and a little refinement of the script it will be an excellent musical. The directors, techs, and cast have come together to create a unique experience that should not be missed.