A well performed and directed show that treads over already well trodden ground.
At the heart of Get Happy, a new one-man show at the Omnibus Theatre, lies a relatable quest for contentment in the bustling big city. Our protagonist, a gay man in his late twenties, finds his world nudged off-kilter when his best friend and housemate announces their engagement. This pivotal moment sparks a realization: it’s time to “Get Happy,”. This mission involves untangling his career, sorting out his living situation, and mending his relationships, all with the somewhat ironic assistance of his virtual sidekick, Alexa.
The acting in Get Happy is strong. The writer of the show and its only actor, Joseph Aldous, delivers a strong and versatile portrayal, effortlessly shifting between comedic moments and empathetic, emotional depths. However, a slight quibble arises in the instances where multiple characters are brought to life by a single actor. There were moments where clearer physical, vocal, or even prop-based differentiations between characters would have enhanced clarity and prevented fleeting confusion for the audience.
The primary hurdle Get Happy faces isn’t an internal flaw, but rather an external one: the indelible shadow of Fleabag. In a vacuum, Get Happy might feel fresh and innovative. However, the existence of Fleabag and its myriad imitators means that much of the thematic ground covered here such the anxieties of modern life the search for connection, and the often-humorous missteps along the way, have been explored with a similar style, and arguably, with greater impact. While the gay-male perspective offers a unique lens, it doesn’t always provide enough of a differentiator. Some specific gay issues presented, particularly those involving overly enthusiastic female colleagues, felt less grounded and at times incongruous with the show’s otherwise realistic world.
Surprisingly, it’s the lighting design that is a highlight of the show for me. Seldom does the illumination of a production stand out so prominently, but here, the fluorescent tube lighting is nothing short of brilliant. Its use is consistently effective and beat-perfect, showcasing a clever subtlety that can also be pronounced when the narrative demands it. It’s a testament to how intelligent and impactful lighting can be.
Ultimately, Get Happy is a well-performed and directed show that, despite its considerable strengths, treads over already well-trodden ground. While it offers moments of genuine humor and emotional resonance, it struggles to carve out a distinct identity in a theatrical landscape already populated by similar, and often more impactful, narratives.
Get Happy is playing at the Omnibus Theatre until the 12th July.