Musical brimming with clever ideas

CHRIS Gilbey-Smith’s ambitious production of this powerfully emotional and enthralling folk-rock musical is brimming with clever ideas.

Based on the 1891 play by Frank Wedekind, the musical opened on Broadway in 2006 with lyrics by Steven Sater and music by Duncan Sheik.

Wedekind’s original play was written to unmask the dangers of traditional family life which relied on secrecy, lies and conservative attitudes to sex and the programme issues a content warning — This production contains strong language, references to suicide, verbal and sexual abuse, as well as depictions of physical aggression, and sexual content – all or which led to it being banned or bowdlerised.

The issues it treats about adolescence are still important and powerfully conveyed.

Gilbey-Smith presents it with a cast of 13, highly appropriate given the tragic elements in it. This is not just for economy. Michael Barker plays all the adult men and Elaine Freeborn all the adult women, so we quickly grasp the ways in which adults pressurise, terrorise and threaten the freedom of the young people: the six young women and and five young men. It doesn’t matter whether they are teachers, parents or whatever; they all repress.

And yet it’s a musical. Its first group scene is very much Broadway, Becca Shaw’s choreography having the actors dance and move in a stylised way. Slowly, though, the exaggerated movements diminish as characters become more established and we begin to empathise with the young people more. They aren’t play acting anymore, they are being.

The seven musicians under the skilled direction of James Suckling are placed only partially seen upstage behind the raised trellis, part of the multi-layered set which creates different locations and lots of visual variety, combined with side flats which act as chalk boards. Kim Green’s set design also gives the opportunity for projections onto the stage floor. The lighting design by Joel Hassall and the use of spotlights is exemplary.

The singing is excellent. Luca Catena as Moritz creates the rock effectively, the counterpart to Nathan Dowling’s Melchior whose folk is effectively delivered throughout. The choruses are full-bodied and robustly tuneful.

Gilbey-Smith also adds to the original’s characterisation by making the relationship between Melchior who believes nothing and Wendla who feels nothing more affecting than the original’s characterisation.

This powerful and skilfully presented show is worth seeing.

Peter Buckroyd – Stratford Herald