(seen at the afternoon performance on 27th August 2022)
There is something slightly surreal about watching an autobiographical show knowing that the person who wrote it is in the theatre watching it with you. Jay Osmond proves that his family are as extraordinarily nice as portrayed by acknowledging his fans from his dress circle box stage left at the start and happily chatting with them at the interval. He also took great delight in the pleasure his show was generating as he looked out over the stalls.
For the monkey, this was its first surprise of the afternoon. The second was the audience itself. Over the years it has seen many, many musicals and concerts about and by the stars of its youth – the 70s and 80s. At all of them, the audience has ranged from 8 to 80, family groups and 20-somethings on dates, the whole gamut run.
The Osmonds Musical is an absolute exception. A very few men – invariably accompanying their lady. The vast majority (and the monkey could see no exceptions from its stalls seat) were ladies of 60 to 65 or so. It was that specific. Women who were like young Wendy (more of her in a moment) for whom The Osmonds represents their youthful memories, hopes and dreams.
We can conclude that there was and is still something particularly special speaking to a particular generation. Jay Osmond’s show tries to explain it, and does so rather well.
Very simply, the Osmond family are genuine in every way. Stars by dint of sheer hard work, a self-disciplining family organisation who move forward only as a supportive group. Feet always on the ground and immune to the wider temptations of Pop superstardom.
It could make for a very dull afternoon – no drug overdoses, jail, illegitimate children or messy divorce. In fact, the only dramas are noting the pressures each comes under at one time or another with a gruelling schedule from a very young age, and the discovery that their $80 million fortune has vanished and must be rebuilt. This they do the hard but correct way, with two more years global touring until every cent is repaid.
Luckily, the family writes great music, branching out into multiple groups to encompass many styles. Along they way they also met some icons (Elvis sent them his martial arts instructor), and set both sartorial and fanbase standards which defined the genre for decades to come.
There’s a little humour too. Jay met Walt Disney in Disneyland and watched in awe as Disney drew him Mickey Mouse and signed it to his little buddy. That picture is now... Jay doesn’t have a clue either. A lovely moment in a show full of these personal memories.
Classic songs have fans swaying in their seats. “Paper Roses” is delivered with expertise and sincerity by Georgia Lennon as Marie, “Long Haired Lover From Liverpool” cheekily from capped Tristan Whincup as Jimmy and “Puppy Love” with Joseph Peacock as Donny generates sighs of teen years recognition.
As a family ensemble, “I’ll Be Home For Christmas” makes good use of the simple steps and platforms set (Lucy Osborne), while duet hoedown of “Thank God I’m A Country Boy” gives Kylie Anne Cruikshank’s choreography and Osborne’s costumes a particular chance to shine.
Charlie Allen as head of the family George, retired military man and moral central pillar manages to avoid brutality, partly thanks to the contrast Nicola Bryan as wife Olive provides with her looser approach to life’s issues.
By far the greatest number of problems fall on eldest son Merrill, Ryan Anderson hiding his fear and pain so that our narrator host Jay (soft-spoken Alex Lodge) chides himself for not noticing.
Away from the family, while Alex Cardell's Andy Williams impersonation may not be strictly accurate on the ear, he does well as a variety of TV presenters and has a witty way with accents.
A note too for the younger players who are an ensemble to have the audience ladies clucking all over again as they represent their idols at a younger age. Sadly, the team the monkey saw wasn’t credited anywhere it could see, but there are some future performers there without a doubt.
Most of all, young Wendy of Manchester. Sophie Hirst playing a 14 year old schoolgirl pouring out her very real troubles in letters from Jay's "number one fan." Dropping occasionally into the show as she grows up, many in the auditorium were nodding in recognition. A neat twist near the end has Katy Hards as older Wendy facilitate the author's sweet acknowledgement of all who stand by his family's act, lending real emotional weight to the plot device.
Even if this story ends abruptly circa 2007 for a half-hour concert to finish rather than draw any particular conclusion for a take-home message, we don’t really need it. Strong moral values, self-respect and original talent are keys to success. A little luck and never giving up help, writing some memorable tunes is the best way to enter the music history books.
Heaven for fans, more than enough to enjoy in a light entertainment for everybody. You will indeed love this for a reason – and let that reason be love.
3 stars.
Photo credit: Pamela Reith. Used by kind permission.