Choose Life, Choose a Job, Choose a Family, Choose This Little Life of Mine

Izzy (Kate Batter) and Jonesy (James Robinson) think back to happier times, photo courtesy of Charlie Round-Turner

             Pick two: work, relationships, or self-care. Most of you will have seen variations of this work-life balance triangle graphic online. The career one is split between a job that pays well, is in a good location, or advances your career. The college one confronts you with whether or not you want good grades, enough sleep, or a social life. Again, you can only pick two. They might seem somewhat humorous or like melodramatic ultimatums, but for most of us, they’re decisions we face (and struggle to juggle) on a daily basis.

             That’s why the new musical from Michael Yale, This Little Life of Mine, at Park90 has tapped into something entirely human and relatable. Main characters Izzy (Kate Batter) and Jonesy (James Robinson) want it all – their own flat, their first child, and time not only for each other, but also for their friends.

Photo courtesy of Charlie Round-Turner 

             They settle into a small flat, but that’s London for you. Jonesy comes home from work too tired for sex and lusting for a beer, but Izzy is raunchily positioned on the couch ready to pounce, because she’s “ovulating”. It’s a word I thought I would never hear in a song, but “Tick Tick Tocking” somehow pulls it off. That’s the genius of Charlie Round-Turner’s music. They’re propositioned by a married couple they’re friends with who turn out to be swingers. I am reminded of the “Expectations vs. Reality” scene in the film (500) Days of Summer, where the lyrics of Regina Spektor’s song “Hero” ring out: “No one’s got it all.” Pick two.

             It’s true; the course of true love never did run smooth. Although this quote first appeared in Shakespeare’s A Midsummer Night’s Dream hundreds of years ago, human nature at its heart is, in essence, predictable. There are ups and downs and when the audience laughs or falls silent during This Little Life of Mine, it’s because that theme, moment, or even a look, resonates with this little life of yours and mine.

Bartender and barista Raphael (Greg Barnett) keeps the alcohol flowing when Izzy and Jonesy's relationship is on the rocks, photo courtesy of Charlie Round-Turner

             One such example is the exchange between Raphael (Greg Barnett), a barista, and Tina (Caroline Deverill), Izzy’s friend. It is in fact Barnett and Deverill who steal the whole show and garner the most chuckles. In a singsong Portuguese accent, Raphael chirpily introduces himself and runs through the expected and dreaded spiel that comes with ordering coffee, much to Tina’s impatience. “When you say you want small, do you mean tall?” What follows is the “Song of the Barista”, which Barnett delivers in a mock somber tone that only adds to its hilarity. When he sprays his cleaning product on the counter with utter determination and not even a quiver of a smile, it’s enough to send me into fits of giggles.

             That’s not to say that Batter and Robinson aren’t strong leads, but when pitted against Barnett and Deverill, who revolve five and four roles respectively, it’s difficult to compete. They are the comedic value, because the storyline involving Izzy and Jonesy is emotional. We watch their relationship slowly deteriorate after a traumatic experience only breeds distance and disconnect rather than the child they long for. The theatre accommodates 90 people and I was sitting in the front row, perched practically in their living room. This made me feel all the more invested in their relationship and all the more eager for it to work.

Jonesy seeks comfort in friend Tina (Caroline Deverill), photo courtesy of Charlie Round-Turner 

             However, life is not full of happy endings. Izzy sings, “When I dreamt of happy ever after, I didn’t really picture it with you” to Jonesy in “Hey Prince Charming” at the beginning of the musical. In the finale number, “My Life Story”, she sings, “In the film of my life, everything will be cinematic wonder and happy ever after, but that’s just movie make-believe.” Both songs highlight the pursuit of perfection, but perfection doesn’t exist. The sooner we come to realize that, the happier we will ultimately be. For a generation that expects to have it all, sometimes all we really need to aim to achieve is contentment with what we already have. This Little Life of Mine perfectly reminds us of just that.

             This Little Life of Mine is running at Park90 in Finsbury Park until 29 October. Book tickets here.

Photo courtesy of Charlie Round-Turner

The Battle of Boat Makes for a Smooth Sailing Musical at Kingston's Rose Theatre

Friends Frances (Anastasia Martin, far left), Gladys (Lily Caines), Sybil (Sabella Attenburrow), Florence (Marika Karatepeli), and Jack (Ashley MacLauchlan) receive a letter from William (Jonty Peach, far right), who is serving during World War I, photo courtesy of Matt Hargraves

             The Battle of Boat made its premiere at the Rose Theatre in Kingston last night. This original musical written by composer Ethan Lewis Maltby and lyricist Jenna Donnelly is set in Britain during 1916, in the midst of World War I. Coinciding with the centenary of the Battle of the Somme, it explores the way that a group of children make sense of war and how they contribute to the effort in their own, creative, way. In association with the National Youth Music Theatre, the production sets sail on a heartwarming journey, all told through a cast ranging from ages 11 to 19.

             As an Army brat myself (albeit of the American branch), with a father who has been deployed several times, The Battle of Boat takes on a particular significance for me. It is executed with a lucid truthfulness and earnest delivery, with songs that encapsulate that feeling of being helpless (a name given to one of the songs), confused, and frightened in the event of a deployed parent. Regardless of the war or the time period it takes place in, the emotions remain the same. When I was a teenager in high school, I joined a program called Deployment Buddies, where I would visit the nearby elementary school once a month. As “bigs” we interacted with the “littles,” who had one or both parents deployed, to sing songs, share snacks, and create crafts. It wasn’t too dissimilar to the coping skills of the children in the show.

Beagle (left, Luca Panetta), William, and Jack play in the woods, photo courtesy of Matt Hargraves

             Florence (Marika Karatepeli) draws a picture for her father, who is off fighting at war, and all she wants is to show it to him. Beagle (Luca Panetta) makes a miniature zeppelin in the hopes that the group of friends can fly to reach William (Jonty Peach) in France, but it goes down (quite literally) like a lead balloon. William is the only one accepted by the Army after they swaddle themselves in oversized clothes and lie about their ages at the enlistment office. They take on their biggest project yet when they decide to build a boat, which Beagle brands unambiguously as “Boat.” To me, this perfectly illustrates the sweet simplicity of children and how their minds work. Unlimited by the constraints that adults place on their own imaginations, children truly believe anything is possible, no matter how farfetched or nonsensical an idea might seem. A group of bullies threatens to overturn the group’s secret, but they won’t go down without a fight on the home front while William is fighting abroad. Hence, The Battle of Boat ensues, with a victorious end for our young defenders.

             The fact that their boat voyage is unsuccessful in making it to France doesn’t really matter, because word reaches William and the rest of the soldiers and it boosts their morale considerably. When my father was deployed in Iraq, my mother would send him care packages, often with home comforts wrapped in lush green grass wrapping paper – a type of vegetation he certainly wasn’t getting in his arid landscape. Sometimes, it is the simplest of gestures that can provide hope during the most difficult of times. In one of William’s letters to his friends, he explains that “little annoyances that used to matter don’t anymore.”

Jimmy Biggs (Bill Stanley, center) attempts to fight off Gripper (Haroun Al Jeddal, far right) and his gang, photo courtesy of Matt Hargraves

             Watching Darragh O’Leary’s synchronized choreography is made all the more impressive due to the sizeable cast (almost 30 members), of which there is demonstrable talent. Haroun Al Jeddal as Gripper, the bullies’ gang leader, Bill Stanley as Jimmy Biggs, Anastasia Martin as Frances, William’s sister, and Jacob Edwards as Felix, along with the aforementioned names and the rest of the cast, are clearly all stars in the making. Everyone carries the musical beautifully. The set is scattered with toys, traps, and glowing trees. A billowing blue piece of fabric acts as the ocean’s waves and a metal sheet imitates the sound of thunder. The children’s dynamism and energy is what makes all of these elements come to life.

             The Battle of Boat would be a great introduction to musical theatre for children, while also making war a digestible topic for them. I was worried whether the Grim Reaper, scythe in hand, would rear his ugly head. Luckily, the show manages to skirt around the topic of death, but it is still broached when a furry member of the crew meets an unfortunate end. The song “Funeral For a Friend” could easily be about a person, which makes it all the more heart-rending. However, for each somber moment, there is an equally humorous one (mainly in the form of Beagle’s antics) and it elicits a sigh of relief from the crowd.

The Battle of Boat takes place on the home front, photo courtesy of Matt Hargraves

             Sitting in the theatre, there will have been individuals touched by war, ones who haven’t, and those who have served on the frontline. Regardless of which category you fall into, The Battle of Boat is a musical that the whole family can enjoy and reflect on in different capacities. An elderly gentleman to my left occasionally wiped away tears during the arresting score, while I caught children mimicking moves from the show and singing the catchy and highly inventive lyrics after the show. Surely that’s the highest praise that Maltby and Donnelly, and indeed any writers, could receive. It’s not often that a production can touch an audience cross-generationally, but they’ve pulled it off with smooth sailing.

             The Battle of Boat is showing at the Rose Theatre in Kingston until August 13^th for its three-day run. To make sure you don’t miss out, book your tickets here. Listen to exclusive tracks from the musical here.

Green Day’s American Idiot Makes a Smart Move Returning to London

Johnny (Newton Faulkner, right) goes to war with his alter-ego, St. Jimmy (Lucas Rush, left), photo courtesy of Darren Bell

             The red carpet was rolled out for the press performance of Green Day’s American Idiot last night. As of July 8^th, the musical has returned to the Arts Theatre in London for a limited run until September 25^th. It officially hit Broadway in 2010 and made its London debut in 2015, which was followed by a UK tour in 2016.

             If making Green Day’s 2004 album of the same name into a theatre sensation seems like the most un-punk rock thing to do for a band that is unequivocally punk rock, think again. American Idiot was actually constructed as a punk rock opera by its head honchos: lead singer Billie Joe Armstrong, bassist Mike Dirnt, and drummer Tré Cool. Therefore, taking it to the stage where it could be enacted in all of its dramatic glory actually made complete and utter sense. Even though it’s just as much of an audience pleaser as West Ends old-timers, it has very much taken on a life of its own as the cool kid on the block.

Boys will be boys...Johnny with his friends Tunny (Alexis Gerred, top) and Will (Steve Rushton, right), photo courtesy of Darren Bell

             The songs are anthems devised for a post-9/11 America, which was encompassed in a bubble of conspiracy theories, confusion, and terror. During this dark political landscape, it was hard to know who to follow or believe in. Green Day introduced a new leader and potential savior with a character called Jesus of Suburbia. Newton Faulkner, the double platinum-selling artist, joins American Idiot as Johnny, this crusader of modern times. The singer is known for his folk rock music and easily identifiable by his raspy, gravely voice (and his ginger dreadlocks). Incidentally, he’s a dream to listen to, even when he’s singing about rebellion and broken dreams. He’s also pretty funny.  

             The musical follows Johnny and his friends Tunny (Alexis Gerred) and Will (Steve Rushton) as they all embark on different paths of discovery. While Johnny and Tunny escape from suburbia to the big city, Will has obligations that keep him at home; namely, his pregnant girlfriend Heather (Emma Housley). It isn’t long before Tunny abandons Johnny and joins the military, while Johnny becomes drunk in love with Whatsername (a moniker taken from the song title and played by Amelia Lily, who finished third on The X Factor in 2011) and intoxicated by other, more dangerous, substances.

Whatsername (Amelia Lily, left) shows Johnny the meaning of "hell hath no fury like a woman scorned" with Extraordinary Girl's (Alice Stokoe, far left) support, photo courtesy of Darren Bell

             This is all spurred on by St. Jimmy (Lucas Rush), his Mohawk-sporting, cockily strutting, track-marked alter ego – “the patron saint of the denial, with an angel face and a taste for suicidal.” I can’t take my eyes off of Rush in the role, with his band jacket, smudged eyeliner, and swagger – a conductor of Johnny’s ill fate as he hands him the pill, the needle, the gun. Armstrong played St. Jimmy on Broadway for several performances. Now wouldn’t that have been a sight to behold? I’d say we had the next best thing with Rush though, with his high-energy performance and bad boy charisma.

St. Jimmy (Lucas Rush), that "son of a gun," photo courtesy of Darren Bell

             “American Idiot” is the perfect head-banging opening song after being subjected to television channels that flick between clips of former president George W. Bush and images of the World Trade Center bombing. This is a thinking musical, tinged with some tongue-in-cheek references, which is all down to Armstrong’s powerful lyrics. As cheerleaders parade around with a pom-pom in one hand and a bomb in the other while seducing Tunny, it implores us to not be so easily seduced by ideas perpetuated in the media.  The message comes through loud and clear – for Americans and Brits alike.

             Although it samples mainly from American Idiot’s track list, the musical also incorporates songs from Green Day’s 2009 album, 21^st Century Breakdown, with songs such as “21 Guns,” “Know Your Enemy,” and “Before the Lobotomy.” “When It’s Time” is an unreleased ballad by Green Day that Johnny gently sings to Whatsername while she’s sleeping, strumming away on his acoustic guitar. His silver metal stud bracelet catches the light and the disparity hits me. We’re given all of the swearing, anarchy, and crude humor that you would expect from young boys who are anti-establishment, but there’s also an underlying tenderness there. I never thought I would well up during American Idiot, but there’s a first time for everything! During “Wake Me Up When September Ends,” a song about the death of Armstrong’s father when he was 10, I couldn’t tell whether the tears in Faulkner’s eyes belonged to him or to his character. 

Johnny picks up his guitar for "When It's Time" while Whatsername sleeps soundly, photo courtesy of Darren Bell

             As with opera, there is very little dialogue to lead the story, other than Johnny’s running monologue to inform us of the passing days, weeks, or months. The songs really don’t need stringing together, because they speak for themselves. Song writing is at its very core story telling, with lyrics that form the narrative. If you’re a fan of the songs already, you’ll love seeing them performed in what is essentially an extended music video. The cast are exceptional singers, which makes the lack of talking all the better. The main cast members, whether they sing alone or together, are all powerhouses – packed with their own range and tone to get to grips with Green Day’s raucous, fast-paced songs. They don’t falter once.

             In a moment of patriotism, underneath a flurry of red, white, and blue confetti, no matter where any of us are from, we are united in the knowledge that we all went through “that phase” during our teenage years and came out on the other side relatively unscathed. Musicals have a tendency to do that, to connect us and make us feel something, regardless of what it might be. For the finale, however, that feeling was unanimous. The lyrics of “Good Riddance” rang out from the whole cast: “I hope you had the time of your life.” I did, I absolutely did, and judging by the standing ovations and cheers from the rest of the crowd, everyone else did too. In the case of American Idiot, I think it’s impossible not to.  

             Rock out at Green Day’s American Idiot until September 25^th. Book your tickets here.

The gang's "Homecoming," photo courtesy of Darren Bell

The War of the Worlds – Alive on Stage: Martians Dominate at the Dominion

Jeff Wayne's musical version of The War of the Worlds makes its London debut, photo courtesy of Everything Theatre

             Greetings, earthlings! I feel like I’ve been on another planet with my blogging hiatus, but I’m back! The past few months have been rather hectic. My university dissertation took priority and then I graduated in December (hoorah)! The Christmas season was upon us shortly afterwards, which was swiftly followed by a flat move.

             I have a lot of exciting events coming up, especially without the constraints of university work limiting my explorations. There is the small matter of me now getting a job in the real world, but until then, London is once again my playground. I feel like I have been released into the city with new eyes of appreciation. While my student Oyster card has since expired, my passion for London has been reignited into a roaring fire that cannot be put out. 

             What better way to get back into my blogging than with a new production on the London theatre circuit – Jeff Wayne’s musical version of The War of the Worlds – Alive on Stage?

             The Dominion Theatre, which previously housed We Will Rock You, has received an extraterrestrial takeover. This is not a musical as such, nor does it aim to be. After reading H.G. Wells’ The War of the Worlds, Wayne said he “could already hear sound.” In 1978, a double album was released in the UK and 15 million copies have been sold worldwide.

             Wells’ novel was featured in Pearson’s Magazine in 1897 and elicited fear, and continues to do so, in its readers. Perhaps Martians seemed like a distant threat back in those days. With the looming progress of artificial intelligence and the insistence on creating (why, I have no idea) a sentient being, perhaps this adaptation comes at a particularly befitting time.

             The orchestra, conducted by Wayne himself, is a constant presence on the stage, which makes it unique to most shows. Rather than a story accompanied by music, The War of the Worlds is predominantly a musical spectacle. The ominous synth and rock vibes are what narrate and drive the story. 

             The star-studded cast consists of Liam Neeson as George Herbert, the journalist (by way of projector screen), Michael Praed as Herbert on stage, David Essex as the voice of Humanity, Jimmy Nail as Parson Nathaniel, Heidi Range from the band Sugababes as his wife, and Daniel Bedingfield as the Artilleryman.

             I must not forget to include the Martian Fighting Machine, which commands the audience’s attention with its fly-like eyes and skeletal metal body. It was built by Brilliant Stages, who are art directed by artist and sculptor Jacqui Pyle.

 The Martian Fighting Machine in all its gargantuan glory, photo courtesy of The War of the Worlds

             Together with the pulsating hum of “wheeoo, wheeoo,” a glowing green beacon, and a deleterious heat ray, the Martian Flying Machine is really rather intimidating. I half expected for it to take on a life of its own and clamber off the stage to zap us all to charred smithereens.

             As for the set design of The War of the Worlds, Stufish Entertainment Architects worked their magic. Automated machines, large-scale puppets, multimedia projection, and kinetic staging make this an immersive theatre experience.

             Ultimately though, in this tale of Martian domination, this version of The War of the Worlds decides to focus on the basic human instinct of survival and also of prevailing hope. As Bedingfield sings in “Brave New World” with enviable falsetto: “But maybe from the madness, something beautiful will grow, in a Brave New World, with just a handful of men, we’ll start all over again…”

             I’m reminded of Aldous Huxley’s Brave New World, which is set in 2540. In the novel, sexual promiscuity is the law and emotional attachment is illegal, which really doesn’t sound too out of place in this generation’s casual approach to relationships, or lack of them. In my opinion, we’ve most definitely surpassed George Orwell’s 1984. We are indeed “One Nation Under CCTV,” as elusive street artist Banksy illustrated.

In 2008, Banksy sent a message with this mural in central London, photo courtesy of Marcin Kruk

             In 2016, are we headed for a rise-up of machines? I’m all for having my own Baymax as seen in Big Hero 6, or even a Chappie from the movie of the same name. These are robots we can sympathize with and even come to love, but what about the invisible monsters? Ironically, bacteria end up being the downfall of the Martians in The War of the Worlds. Perhaps humankind could also be vanquished by something just as insidious. The iconic score of this stage production is frantic enough to make you seriously ponder this quandary and question your very existence.

             Book tickets for The War of the Worlds – Alive on Stage until April 2016 here.