(seen at the performance on 22nd August 2022)
Stephen Sondheim’s rule of musical theatre that “content dictates form” is arguably proven by Rickey Allan, Kieran Lynn and Debris Stevenson’s attempt to musicalize the Gunpowder Plot.
One of the most memorable episodes in British history, it is a story told to the youngest children and something they remember always. A man called Guy Fawkes tried to blow up Parliament and was “hung, drawn and quartered” for it. In his memory we set off fireworks for a month to scare everybody’s pets and practice arson on neighbours' garden sheds.
There is, of course, a lot more to the tale. The trouble is that because we have reduced it to those few key moments, the “content” element will forever be simplified unless writers can access a steelworkers smelter to mould and shape the mass of material.
In their six – three performed, three recorded – previous attempts, this team appear still to not yet quite find the right temperature. The form they produce is imperfect. The show could be a full-scale musical for adults, a middle school Dreamcoat alternative or a cantata for either age group.
There is a very strong story about religious faith and the consequences of intolerance to be told, the Gunpowder Plot a cautionary culmination. Here, the book is confusing - Francis Tresham apparently forgotten as the key person who revealed the plot to the authorities.
Writing from the female point of view further confuses the final scenes. Ladies are indeed they who pick up pieces of shattered glass created by men, but in this case the men are the glassblowers and like it or not the focus of the piece.
Was it a female hand that caused the plot to fail - a worried wife? This was the impression several audience members were left with in the oddly constructed book.
The lyric veers wildly from sophisticated to crass, even within the same song. “Barrels On The Water” an example where furtive politics mix with an incongruous playground “Heave Ho” refrain.
The rhyming dictionary is well-thumbed and characters regularly tell audiences and each other what is going on rather than the musical theatre convention of showing us while expounding in song their thoughts. Possibly the result of so many concert stagings, but requiring thought if a full production is envisaged.
Musically, there are several strong tunes and the monkey would urge anyone there last night to have a look on YouTube for a reminder. Still, the tone of the whole is uneven. A derivative “Hamilton” style rapping narration is at odds with the otherwise conventional musical theatre sound comprising most of the show.
Fortunately, an exceptionally strong cast and producing team make the very best of what there is.
Bradley Jaden and Carrie Hope Fletcher as persecuted Catholics Thomas and Martha Percy blend perfectly. His assuredness allows her “All We Dreamed And More” to ring out true and clear with a memorable melodic hook.
Daniel Boys as a rock-star King James is another “Hamilton” styling import. As petulant as George III in that show, even given less strong material here, he works a wonderful comedy moment evicting the narrator (Debris Stevenson) to make use of her perch.
Stevenson’s rap is eloquent and energetic, filling in a few gaps in the story but jarring with the tone of the rest of the work, oddly making the whole feel a little tired and unoriginal.
Les Dennis provides the comedy-foil role as only a comedian with musical theatre experience can. “Paperwork” is in no way a polished comedy number, but is given the best possible delivery even as more paper is delivered by an aide. Oh, and going by the fierce audience reaction to a quip about the Prime Minister’s Christmas party, the whole of Westminster should be very afraid indeed.
As with the previous two concerts in this season, a strong dance element choreographed by Taylor Walker has the Urdang Acadamy Dancers adding immeasurably to the atmosphere, “Burn” a centre-stage highlight for them and Lous Doran and Jessica Helfgott particularly notable – the latter for maintaining position as required despite a face-full of hair at the end of her number.
Maintaining the presentational quality of the season, Simisola Majekodunmi’s regal purple and oppressed beige lighting combine with Gion Ricardo Green’s fiery and sometimes witty video projections to add interest, moving the show beyond the usual actors-standing-at-microphones event.
Giving this still-evolving musical a try-out in such a vast theatre is not nearly as brave as being a Catholic in post-Elizabethan England, but in West End producers terms it is still no small achievement.
The writers of this show may gain an insight in how to re-melt the show into a more distinctive shape, and if they go the route of a full stage production then future casting is pretty self-evident.
The series producers should know now that their humble idea of three shows in concert using West End stars and a great orchestra and chorus has longevity. Three nights became seven, in a difficult and hot August. So, for 2023 let’s hope their deposit is already down, phone calls made to relevant agents and show rights organisations. The monkey’s vote is “Carrie The Musical” with Linzi Hateley as Mrs White for a start... and if they could hold a front-row aisle seat for it when it happens, it would be most obliged.
3 stars.