Tag Archives: Alasdair Harvey

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“The Little Big Things” at the Soho Place Theatre

This new musical is based on an inspirational memoir by Henry Fraser. A promising rugby player, Fraser had a life-changing accident that left him tetraplegic at only 17.  His brave acceptance of his condition and subsequent success as a mouth artist is a heart-warming story that’s hard to criticise. Yes, you will cry. But that doesn’t automatically make a show based on his life a hit.

Following Fraser’s positive outlook, there is a lot to be upbeat about here. The book for the show, by Joe White, is solid. The idea of having Fraser portrayed by two performers (Jonny Amies and Ed Larkin, who are both good) is great. One is Fraser’s ‘pre-accident’ self who stays with the other, haunts him you might say. The two need to say goodbye so that life can move on.

The show’s structure allows plenty of time for Fraser’s family. There is detail about how his three brothers (played by Jordan Benjamin, Jamie Chatterton and Cleve September) cope. And, of course, his parents, played by Alasdair Harvey and Linzi Hateley. Everyone does good job. That so much care is taken over how everyone feels is admirable.

Luke Sheppard’s direction also gets plus points. Sheppard gets a lot out of his mostly young cast and fills the stage with energy. There’s colour, too (remember, Fraser is a visual artist), with Howard Hudson’s lighting and Luke Halls’ video designs making the most of the new venue’s swanky facilities. It’s all aided by strong choreography from Mark Smith, which includes the super touch of using sign language. The show’s inclusivity is smart: making sure anything the able-bodied Amies does is followed by Larkin in his wheelchair is a powerful point and a dramatic highlight of the whole show.

For all the professionalism in the production, and a very hard-working cast, problems with The Little Big Things are too large to be ignored. The humour can most generously be described as plucky. Only Amy Trigg, as Fraser’s physiotherapist, really manages to land jokes. A lot of dialogue, which may well be authentic, comes across as obvious or even touching on manipulative when played out on stage.

Worse is still to come. The music, by Nick Butcher, is unimaginative. There’s an appreciation that different characters get different sounds. But none of the numbers interests and too many sound like bad boy band songs. The singing is good, but it is painfully obvious when strong voices (especially Gracie McGonigal and Malinda Parris) bulk out poor tunes. The lyrics, co-written by Tom Ling and Butcher, are horrid. One number is even based on get well cards. Far too many are inspiration quotes, the kind you find on social media. If you want to put them in a frame, that’s your choice, but please leave them out of songs.

Until 25 November 2023

www.sohoplace.org

Photos by Pamela Raith

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“Come From Away” at the Phoenix Theatre

Irene Sankoff and David Hein’s heart-warming musical is a true tonic that’s guaranteed to raise spirits. It’s feelgood, for sure, but grown-up, too. Based on the true story of air passengers stranded in Newfoundland because of the 9/11 attacks on America, there are hard-hitting moments. But the folk of Gander, who looked after the ‘plane people’ forced to stay with them, show the very best of human nature.

Sankoff and Hein depict a cross-section of travellers and the local community that could be dizzying. Christopher Ashley’s direction is essential for clarity. The point is to show us the gamut of emotions and circumstances, to give us glimpses of lives before, during and after the crisis. With the cast performing multiple roles, several characters manage to stand out to great effect.

The music, inspired by Newfoundland’s Celtic heritage, is rousing, raucous and dramatic, managing to provide a real sense of place. And you will be humming the tunes the next day. If some lyrics are repetitious, they are always efficient. Even humour is crammed in. The key lies in using all members of the cast: their work as a chorus mirrors their characters’ parts in a close-knit community.

Fun comes from the eccentricities of the locals, established quickly and successfully. It could be an odd contrast with the trauma of those coming off the planes, but fear and anger are dealt with sympathetically. And it’s notable that metropolitan prejudices about small places are called into question aplenty. The joy of Come From Away is that it deals with a cliché – of ordinary people doing extraordinary things – so very well.

There is nothing ordinary about the dozen cast members who take on the responsibility of telling the story. They flit around roles with remarkable skill, and also manage to focus on key story lines that take turns to touch hearts, heads and funny bones.

The character of Hannah, worried for her firefighting son back in New York, is sure to stand out, but Gemma Knight Jones, who takes the part, is outstanding. Jonathan Andrew Hume and Mark Dugdale’s storyline as a gay couple does a lot of work to question assumptions and the performers are excellent. Another romance, between Kate Graham’s Diane and Alasdair Harvey’s Nick, is sweet. All the while, James Doherty’s mayor marshals the action. That’s only half the cast, so forgive me. The real achievement is the work of everyone on stage as an ensemble – moving together and sounding fantastic – bringing both energy and sensitivity to a great story.

www.comefromawaylondon.co.uk

Photo by Craig Sugden