‘[title of show]’ review
‘an ode to musical theatre and collaboration. An expert production team works seamlessly with talented actors to create a memorable, comedic evening.’
Trevelyan College Musical Society (TCMS) are back, and they have concocted the perfect antidote for the end-of-term blues. Josh Brooks’ first musical as Director sets a high standard for TCMS’ theatrical year, with [title of show] bringing a whole new meaning to the creative process. Producer Dan Wattis phrases it perfectly: ‘after last year’s production of Jesus Christ Superstar, I knew I’d have big shoes to fill with TCMS’. It is not often one’s feet are too big for the shoes, but that is the precedent TCMS have set on the opening night of [title of show].
‘A musical about two guys writing a musical about two guys writing a musical’. The show chronicles its own creation, closely following Hunter, aspiring writer, and Jeff, composer, on a hilarious yet poignant journey towards Broadway. Alongside pianist Larry and actors Heidi and Susan, a metatheatrical portrayal of creativity and the artistic struggle is brought to life. A small cast allows for character depth and multiple opportunities for showcasing strong performances.
The dynamic duo are Moritz Afridi as Hunter and Harry Graves as Jeff. There is no one better to immortalise the tortured writer than Afridi, who holds the audience captive through his creative struggle. His vocals are spellbinding and work in perfect harmony with Graves’ enthralling performance. Graves is Jeff, there is no question about it. Onstage, his confidence is clear, and his presence is warm and assured. The duo manages to precisely encapsulate the overwhelming nature of theatrical possibilities.
In ‘Original Musical’, a blank piece of paper takes centre stage, walking and talking. Initially comic, we soon come to realise the paper’s symbolic meaning, embodying the psychological turmoil of artistry. The pair’s dialogue is so natural that a script may never have been involved. The depth of friendship and creative collaboration shines through every scene they have together, with their final phone call being a nostalgic reflection on how far they have come. The artistic dilemma is the underlying focalisation of the show, as moments of catharsis between the comedy allow for reflection on the overwhelming fear that accompanies the creative process.
Heidi is played by Emma Rowson, who brings such emotional resonance to the stage it is hard to separate actor from role. Rowson is expressive, sentimental, and a vocal powerhouse - her performance hits its pinnacle in ‘A Way Back to Then’, where we hear soaring inspiration and passion. Bethan Crotty’s Susan is unforgettable. Her sassy, enigmatic portrayal is amplified by the almost painful realism of her internal monologue. An immensely strong vocal performance is matched by a fiery onstage presence, yet moments such as ‘Die Vampire, Die’, add a level of profundity. The motif of the vampire is used to navigate Susan’s complex inner workings, a potent image to close the first half.
‘Secondary Characters’ is Crotty and Rowson’s showcase, and one that firmly reminds us these two are certainly not secondary characters. The audience is left hanging after Rowson’s powerful vocals are brought to a deafening halt; the atmosphere they create together in a short amount of time is outstanding. Speaking of secondary characters, [title of show] would not be complete without Larry. Jed Godfrey not only embodies Larry but acts as the show’s Musical Director and musical accompaniment. The piano is a brilliantly understated feature, a character almost in itself, providing every melody and every note to keep the show going.
This is a show that thrives on collaboration - from the musical cohesion of the four’s voices, soundtracked by Larry, to the production value, a highlight being the skilled use of lighting to parallel both onstage events and psychological moments. Purple lighting dimmed the theatre during metapsychological and dream sequences, an immersive touch to an already engaging production.
[title of show] is an ode to musical theatre and collaboration. An expert production team works seamlessly with talented actors to create a memorable, comedic evening. As Michaelmas draws to a close, and the nights become dark and stormy, escape summative deadlines and immerse yourself in 2000s New York, where the battle for Broadway takes centre stage.
By Esme Jones.