“The cast knocks it out of the ballpark. The direction is top-notch. The set is an aesthetic pleasure… Despite the accumulative effect of those things making for a satisfying evening, the book lets it down…“
– Veronica Hannon 3.5 stars out of 5 stars
There is a lot that is very nice about this show. The cast knocks it out of the ballpark. The direction is top-notch. The set is an aesthetic pleasure. It’s true. I think I leant forward, hoping to smell the 70’s wood-panelled walls. And the songs, well, it’s Sondheim.
Despite the accumulative effect of those things making for a satisfying evening, the book lets it down. The story, while charmingly acted, is a bit thin. And truthfully, we know where we’re heading pretty quickly, even if the talented young actors draw you in and are true to the undeniable sadness of it all.
Those actors are Elise McCann, Andrew Coshan, and Ainsley Melham. Playing the central trio of artistic mates aching to make it, they are all quite remarkable. The show traces their characters’ lives but in reverse chronology. We start with the old friends barely talking to one another and end at the fizzy beginnings of their meeting on a New York rooftop.
In his memoir “Finishing The Hat”, Sondheim noted he wanted the performers to be the age of his characters at the end of the story rather than the 40 somethings at the outset. It is undoubtedly poignant having gone on this journey with them and have them burst into “Our Time” as the closing number. It is their time, and each lead in this show deserves to see their name in lights.
Melham’s frustrated Charley Kruger casts a spell over the audience early on with superb comic timing in his rendition of “Franklin Shephard, Inc”. In the harder role of Franklin, the sell-out, Coshan holds firm as the heart of the production and ages backwards with great subtlety. His singing is solid, and he and Melham work beautifully together. As Mary Flynn, essentially the glue holding the boy’s friendship together, McCann does more than what you might think possible in a thankless role. Her voice is gorgeous, and her mere presence solves more than a few problems.
The rest of the cast acquit themselves admirably under Dean Bryant’s astute direction. Melanie Liertz lights the smashing set by Jeremy Allen with costumes by Veronique Bennett. Andrew Hallworth contributes some witty, precise choreography. The use of video enlivens scenes rather than being gimmicky. The standout moments rely on the music, and this production is blessed with the talents of Musical Director Andrew Worboys and his small combo of musicians.While being very aware of the cult of Sondheim, there is something timeless about his songwriting. In a nod to one of his best tunes, his music celebrates being alive.
This show is bound to sell out. Get in quick or you’ll need to petition the theatre for extra performances.
Veronica Hannon, Theatre Now
Event Details
