An absurd, over the top spectacle, full of fun
“This overacting is exhausting…but not for us”
From the moment the show starts, until its frenetic conclusion, it is impossible not to be drawn into the camp and joyous spectacle. Whether you’re a fan of the series or a complete newcomer, there is something for everyone. This is where the production really soars, it takes every member of the audience along on the journey, no matter what your relationship is to the series.
The first act is a love letter to the series, celebrating each returning character and setting up intrigue for the second act, brought on by Hurricane Fud. The second act contains a twist that cannot be guessed. It is utterly absurd, and feels like something straight out of League of Gentlemen, yet it is incredibly easy to accept and jump straight on board with.
The writing is solid, Alan Cumming and Forbes Masson jump straight back into the fun that made the series so beloved, and the addition of Johnny McKnight is very welcome. McKnight’s fingers are all over the script, and really help it to shine on stage, embracing moments of pantomime and clever asides to keep the audience laughing and entertained. The trio blend together incredibly well, and the musical numbers are perfectly catchy. Is the plot entirely coherent? No. Does it need to be? Absolutely not.
Cumming and Masson also shine in the reprisal of their roles of Sebastian Flight and Steve McCraken, jumping straight back into characters not seen for over thirty years. Masson brings an energy that does not wane throughout the show, and Cumming arrives with an undeniable charisma that keeps all eyes fixed on the stage. Even when faced with resistance from the audience during the crowdwork, the pair keep us invested.
The most rapturous laughter was often brought on by Patrick Ryecart, who brings the surreal Captain Hilary Duff back to life. With a multitude of costumes and delightfully irreverent turns, Ryecart steals the scene with his hilariously befuddled captain. The undisputed star of the night, however, is Siobhan Redmond, who has a show stopping entrance as Shona Spurtle. She is absolutely superb and flies high throughout the show delivering an assured performance that is simply impossible to look away from.
The supporting cast is equally impressive, jumping into the over the top nature of the show and keeping pace with the core cast throughout. Rachael Kendall Brown is wild and wonderful as Kylie, and Kyle Gardiner is a lot of fun to watch switch between various states as Mylie. Lousie McCarthy puts together an impeccable performance as Heather Argyll, and the ensemble of Ross Baxter, Lauren Ellis-Steele, Ciara Flynn and Grant McIntyre are wonderful as an all singing, all dancing cast of characters.
What sits in the memory the strongest, is the undeniable pride in the Scottishness of the piece. With so many Scottish institutions involved, it was always going to be the case, and Alan Cumming in particular shines as a passionate representative of what is possible in giving Scottish Theatre to Scottish performers. Maybe, with a name to lead the charge, this can kickstart a renaissance of Scottish Theatre, and allow audiences to see more and more of the new and diverse creatives out there across Scotland.
Whether you love the series or Scotland or an absurd hour of escapism and spectacle, this show delivers.
The High Life: The Musical – Still Living it! Is on at The Festival Theatre until the 11th April before continuing to tour around various venues in Scotland.