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Posts Tagged ‘Darren Clark’

Sometimes I walk into a theatre with no idea what to expect and I get swept away by the creativity and talent on show, and so it was at Southwark Playhouse on Friday. This musical adaptation of F Scott Fitzgerald’s short story, by Jethro Compton & Darren Clark, is a million miles from the overblown 2008 film, and way better storytelling. Somehow the implausibility of the story of a man who lives his life backwards doesn’t matter as you become captivated by what is now a folk tale set in Cornwall.

From his birth as a 70-year-old, unsurprisingly rejected by his parents, Benjamin tries to find his way in the world. His early life is marred by being too old for anything. As he gets younger, he falls in love with a barmaid, but when he tells her of his plight they part and he goes to war. After the war, he travels the world to understand and resolve his reverse ageing, but fails. When he finds Avoryow again years later, he discovers she’s not the only one he left behind, and they reunite for some happy years and a second child, but tragedy strikes twice, the second time as his wife overtakes him in years and dies, leaving his son to care for him as he continues the inevitable journey backwards.

It’s sub-titled ‘A Celtic Musical’ and the score is a beautifully melodic collection of folk influenced songs that tell much of the story. A highlight for me was the song A Matter of Time, which appeared in both acts telling a different part of the story brilliantly. The five hugely talented performers – Matthew Burns, Rosalind Ford, Joey Hickman, Philippa Hogg & James Marlow – sing beautifully, with soaring harmonies, whilst between them playing keyboards, cello, violin, guitar, drums, trombone and recorder and taking between three and twelve roles each! The staging and design totally suit the material, with a handful of crates, netting and a three highly imaginative puppets for the very old and very young. Writer Compton also directs.

In a welcome first, the programme included a breakdown of costs and funding, which proved what a tight ship they ran putting on this glorious show. A delightful evening which richly deserved the standing ovation in got from a full house. Stop reading and start booking – you’ve only got three weeks.

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One of the most moving moments in a lifetime of travel was seeing the mothers of the disappeared in their monthly ritual in Buenos Aires main square just nine years ago. BA was a very different place to my first visit 27 years before that. This show sets out to tell their story through one mother and her disappeared daughter, using ‘political musical cabaret’ as its form.

Our MC is the General. There are two other military men, one in drag most of the time. The story only starts after the cabaret form is established, which takes some 30 minutes – unnecessarily long and dangerously close to losing the audience in too much forced bonhomie. When Ana and her mother Gloria’s story begins, it gets grittier and deeper and in the second half very dark and deeply moving. I very much liked Darren Clark’s eclectic score and lyrics, which tell the story well and add an emotional layer.

The Arcola has been effectively turned into the Coup Coup Club, with an apron stage and cabaret tables in front of the usual seating in an excellent design by Georgia Lowe and Alex Berry. Neil Kelso, who also plays one of the trio of military men, provides very good illusions. Alexander Luttley provides the burlesque edginess with his racy routines. There’s a theatrical coup at the end which movingly reminds you that this is based on true events. Most of the cast of nine double-up as musicians, with very high musical standards. Amy Draper, who had the concept and is its co-storyteller, directs it with passion.

It wasn’t helped by a 35-minute delay in staring, but it is overlong and if they only ditched a lot of the first quarter and edited the rest, they’d have a much better show. That said, I don’t regret my schlep to Dalston on a sweltering evening.

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