This manufacturing, nevertheless, could be very good. Williams and musical director Ben Kiehne elevate the revue by putting it within the 1980s, fleshing out the vaguely dated story with historic area and context. Kiehne takes the rating and transforms it with keyboard synth and 80s pop sensibilities. It’s sensible work – Bryant ought to take into account protecting this take and growing it additional. This new setting has additionally impressed a colour-blocked pleasure of a set (James Browne) and Verity Hampson brings 80s panache to a lighting plot that’s half rainbow, half compass. They bring about pockets of pleasure.
Williams, a director taken with balancing human messiness with considerate interiority, encourages the actors to fill within the e book’s blanks. Rokobaro is one in all our best musical interpreters – the spouse is extra alive in her palms than Bryant has written her to be – and Rennie has scads of appeal because the ex. Stenlake is the ensemble’s regular hand, and Dallimore is its solar, vibrant and powerful (and nutty).
This musical makes a superb case for the significance of dramaturgs and can be simply improved by an in depth relationship with one. With a much bigger coronary heart and braver character exploration, we may really feel a lot extra. We may very well be remodeled.
This assessment is supported by the Copyright Company’s Cultural Fund and the Judith Neilson Institute for Journalism and Concepts.