(seen on 13th July 2024)
It is strange to realise that the monkey first encountered this classic over 30 years and around 300 yards from this performance. That was of course the seminal 1992 National Theatre production, Trevor Nunn and Kenneth MacMillan combining to take the breath away on the stage of the Lyttleton Theatre.
A 32 piece concert orchestra under Adam Hoskins command (except one rogue tuba player during the overture – Hoskins clowning as usual; plus one viola player losing control of their sheet-music mid number), the acoustic of the Royal Festival Hall and the experience of Lambert Jackson Concerts did well coming close to replicating the experience.
Once the sound system had been adjusted to remove a strange echo, the everyday story of New England wife-beating folk unfolded with its usual magic.
Director Emma Butler sensibly chose to appoint a narrator (David Mildon) to explain the main narrative, dropping most of the dialogue scenes - which require more staging than a concert platform allows.
With just a bench and stack of baskets, Lily Howkins to choreograph the big dance number, and a choir above, it added up to more than enough.
Jamie Muscato as fairground barker Billy Bigelow brings a new dimension to the role, being far younger than the usual casting. His pride, insecurities and narrow perspectives feel more credible than usual, the “Soliloquy” questioning genuinely what fatherhood may be about.
Helpfully, Christine Allado as Julie Jordan, his love interest, could match him vocally and emotionally. Shaking us all by keening over his prone body with the first lines of “You’ll Never Walk Alone,” an unforgettable moment for the pair.
Taking the main part of that number, Rebecca Caine stopped the show for her second time. As Julie’s guardian cousin, Caine earlier had “June Bustin’ Out All Over” on the South Bank in July, to great applause.
Completing the family, Katie Macadam as Louise performed the major dance role - social outcast daughter of Julie and Billy - movingly; her pain at being snubbed by peers and elders alike all too visible.
Those peers and elders include Julie’s friend Carrie Pipperidge (Sophie Isaacs) and upright, uptight husband Enoch Snow (Ahmed Hamad). Again younger than usually cast, they make a compatible pairing as both sought security in each other.
Hamad’s dreams in song and Isaacs wonderings flowed, the audience gasping and sighing as the couple split and re-united.
Strong work from Verity Quade as key character Mrs Mullin, proprietor of the carousel and Billy’s boss, delivered an iron performance, ruling with strength to impart the wisdom of years to the young.
As amoral sailor Jigger Craigin, Tim Prottey-Jones offered a rich voice and sleazy logic adding raw flavour to the narrative.
From the choir stalls, the Trinity Laban Musical Theatre Ensemble again provided their outstanding backing vocals, and a little camaraderie for the clambake scene.
Sound issues and perhaps the odd jump-cut too many for those without programme notes aside; a huge pleasure for the monkey was seeing so many younger people in the audience delight in encountering this exquisite and important piece of musical theatre history for the first time.
If they (and some of their parents) were not around back in 1992, hopefully they now share the delight the monkey felt then at the grandeur of the score. Played in London’s most famous concert hall, sung by some of its best musical theatre talent... a satisfying evening out? You bet.
5* (standing ovation given)