Tag Archives: Olly Dobson

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“A Face in the Crowd” at the Young Vic

This new musical boasts lots of talent – that delivers – but, regrettably, fails to excite. The excellent Kwame Kwei-Armah directs an incredible cast with a book by Sarah Ruhl and music and lyrics by superstar Elvis Costello. Naturally, expectations are high, and everyone does a great job, but the show is effortful rather than inspired.

Having a film in the background might not help, although Ruhl has adapted Budd Schulberg’s book as well as the screenplay that Elia Kazan used. But that was back in 1957, and the story has dated badly. The larger-than-life character of ‘Lonesome Rhodes’, one time down-and-out, then a TV star who tries to get into politics, sounds as if it has potential, but falls flat. Truth has proved stranger than fiction and a plot that should be fantastical feels old hat.

The action is admirably swift. Although Lonesome’s rise and fall is quick, Rhul and Kwei-Armah examine his psychology thoroughly. There’s a sense of outrage as we move from folksy philosophy to sinister popularism. And the character is intriguing, if predictably hypocritical: viewed by his fans as a mix of Jesus Christ and Santa Claus, he’s big on the state of Arkansas and the state of matrimony. But if the jokes don’t make you laugh out loud, I’d suggest the same problem – none of it is as crazy as real life.

Anoushka Lucas and Olly Dobson in 'A Face In The Crowd'
Anoushka Lucas and Olly Dobson

Lonesome is at least a great role for Ramin Karimloo, who sounds fantastic. There’s superb support for him, too. Firstly, from Anoushka Lucas, a radio producer called Marcia who discovers Lonesome and might, almost, steal the show. Marcia gets the best numbers, which Lucas performs beautifully. Her attraction to her protégé might be given more time but a second love interest for her character (played by Olly Dobson) does well – neither character is simply a foil.

The cast could be bigger and the choreography (Lizzi Gee) more ambitious. But Elvis Costello’s music – pure Americana – will please many. Some of the songs are superb, especially the title number, and the mix of country and jazz is intelligent. It’s a shame the ensemble doesn’t sing together more. And that the advertising jingles are such predictable interludes. If the score doesn’t work quite like a musical, it sounds different and I’m sure a soundtrack would sell.

Still, the show is hard to recommend. Even if Lonesome as a kind of early influencer interests you, the piece doesn’t situate itself well in history. It’s never quite clear what year we are in (and the costume design doesn’t help). But the biggest problem is that the satire is just too tame. And although Karimloo has charisma, his character’s popularity doesn’t convince. It is too easy to explain the confluence of politics and entertainment with ignorance. There is a danger the show becomes as contemptuous of the public as Lonesome is… and that suggestion loses my vote.

Until 9 November 2024

www.youngvic.org

Photos by Ellie Kurttz

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“Back to the Future” at the Adelphi Theatre

The nostalgic appeal of bringing films to the stage makes them a safe bet for ticket sales. But to make the transition special, some risks need to be taken. Just plonking this story of time-traveller Marty McFly, stranded in the 1950s, on stage isn’t enough. Leaving aside whether Robert Zemeckis’ mid-1980s movie is any good (it isn’t), this adaptation has so little imagination it will only please the most die-hard fans.

Back to the Future is a big show – you get your money’s worth. The production, designed by Tim Hatley, looks expensive. The special effects, especially those with the famous DeLorean car, are impressive. But behind the sleek scene changes, the choreography is disappointing and the fight scenes poor. The action is well marshalled by director John Rando, but what’s going on is dull and the book from Bob Gale is slow.

Hugh-Coles-&-Olly-Dobson-in-Back-to-the-Future-the-Musical-credit-Sean-Ebsworth-Barnes
Hugh Coles and Olly Dobson

Maybe this time travel drags because the characters are thin and the humour weak. Take Marty’s girlfriend, present to provide a ballad, or the school bully given malapropisms instead of jokes. Our hero is bland, which Olly Dobson’s energetic performance does little to correct. The only characters who stand out are Marty’s father and his scientist friend Doc Brown, played respectively by Hugh Coles, who makes an excellent West End debut, and Broadway star Roger Bart. But note how both men use to silly strutting or voices to get laughs – both effortful techniques that tire quickly.

You might forgive this if the score was any good. But both music and lyrics, by the hugely successful Glen Ballard and Alan Silvestri, just aren’t memorable enough. These are tunes you forget before they finish. The lyrics are leaden and long-winded with far too many references to self-help and time passing. It’s frustrating, as the potential is clear – the mix of 1980s and 1950s sounds could be interesting. But what about a musical dialogue between the decades? Instead we have a collection of humourless pastiches lacking any excitement.

While I’d usually be grateful that a show has an original score at all, this music is too close to songs heard in the background of a film, and they cannot hold a stage. Sentimental numbers are particularly painful. Even worse, the songs aren’t performed particularly well. Leaving aside whether the film’s hit number, The Power of Love, is any good (it isn’t), its brief rendition is the evening’s highlight.  Back to the Future ends up a waste of time.

Until 12 February 2023

www.backtothefuturemusical.com

Photos by Sean Ebsworth Barnes