Well, tonight certainly demonstrated the magic of the theatre. During the first 10 minutes, I felt alienated and convinced I would not enjoy this loud, brash, American show at all.
HOWEVER, by the interval, I was comparing this modern-day punk rock opera with older, well-loved rock classics such as The Who’s Tommy, Bowie’s Ziggy Stardust, Pink Floyd’s The Wall and even Lloyd Webber’s Joseph and the Amazing Technicolour Dream Coat and Jesus Christ Superstar. By the end of the show, I had been completely won over.
A young talented cast with immense energy cannot be praised enough and it would have been good to have heard more of the ensemble especially Shekinah McFarlane. It would be unfair to pick too many people out but, after a highly effective, near death delirium sequence, the painful, uncomfortable drug taking scene of the character Johnny (played superbly by Tom Milner) had the audience gripped in shock and silence.
The lighting was hugely atmospheric. The band was great (Chris George on guitar and Nick Kent on bass looked 100% the part even though Robert Wicks on keys and Charlie Maguire on drums were slightly more conventional!). The set supported all needs as did the costume design.
The Band sound was great but, sadly I couldn’t understand any lyrics unless with solo guitar. The use of head mics has become standard in Rock shows now but, as yet, seldom work as well as handhelds.
High praise must go to director and choreographer Racky Plews who has not only been faithful to the original conceptual album from 2004 but has bought a 2019 hard, irreverent “in your face” modern punk label to the production.
With its theme of three young men disillusioned by the suburban American dream going their three different ways to achieve their desires, it maybe not be a show for a Thursday matinée audience but is excellent programming for diversity at the Theatre Royal.
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