This is a review for the Friday, November 24th, 2010 performance at Phoenix Theatre London.
Acting - 8.5/10
You could tell this was a professional show and one that has been in London since the late 1980s. All of the main characters were fully realized human beings who grew and changed with the piece. Willy Russell wrote a wonderfully powerful musical which calls for full commitment in order for the final scene to have the impact that it must have for the show to be a success. Linda Nolan as Mrs. Johnstone was a nice fit and she showed us many of the ups and downs of the character. In the first half she seemed a bit careful and not as emotionally invested or effected by her station and losing her son as I would have hoped. It seemed like she was just playing conventionally, showing the emotions the same way she does every night. This, however, changed in the 2nd Act at the end where the characters emotional life was essential and her exhibited struggle ultimately moving.
I think I saw Stephen Palfreman playing Mickey Johnstone in Canada in 2005, which was a wonderful production. Either way Palfreman's performance made this performance the success that it was. I was starting to get bored in the first Act and then Palfreman took the stage and captured my interest. His detailed impersonation of child was fully embodied which made it particularly painful to watch his decline into depression in the 2nd Act. He was no longer the agile child who cheerfully wiped his snot with his sleeve but rather a almost paralyzed young man who almost looked like a 80-year-old. Truly amazing.
As for the rest of the cast, they were all well played and added to the success of this production.
Direction - 8.5/10
It flowed and we could understand the story. I can't remember many details but I know that I would have liked to experience the Narrator a bit more as a friendly ghost. He coiuld have been more present in the scenes (depending on the scene of course), instead of lurking around 'upstairs'.Design - 8.5/10
This seems like the original design and it works...but I wonder if it could be updated at all? The production I saw in Canada was a bit more Expressionistic in design with many triangles and shadows, whereas this production was very realistic. I suppose it depends on the desired effect.Special Effects - 10/10
Whatever there was, was well used (won't spoil the surprise).Sound - 5/10
The singing was great, as was the score....albeit clearly 80s. BUT my one major concern was the playback. Do we really need to have the music BLASTED at us? I don't think so...unless humans are loosing there ability to hear. What did they do in the Renaissance before microphones and speakers. This production was an excellent example of how high decibles can ruin a production. My favourite song in this production is the one the narrator sings 'The Devil's Got Your Number' which was completely butchered thanks to the playback. It was too loud by far! And the song is already pretty much shouted, just because the nature of the music. My mother cringed when this reoccuring song was performed and it's not becasue Philip Stewart did a bad job but because of sloppy sound technicians. My sister, 'I think that song that the Narrator sings is probably really good, but right now it hurts to listen to it' (this is while she was covering her ears with a scarf).Affectiveness - 8/10
This is an seriously affective musical because Willy Russell tapped into the perpetual struggle of class and coupled it with a changeling-twin scenerio. It was also a production that did the script justice.Overall - 8/10
If you are in London see this show, there is a reason it has been playing since it first came out. The acting was great, the script is affective, the singing was filled with emotion and despite the bad playback it's still worth sitting through 3 hours of ear destruction thanks to the decibels
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