Review of ‘The Choir of Man’: “A toast to a new beginning”

The most itinerant pub in the world is bringing its pints, snacks and songs to its new location at the hub of London’s West End. Guillermo Názara reviews this newly arrived show, which has already conquered the international scene – to comment about its depiction of life, friendship and community.

It’s eight o’clock on a Friday night. The regular crowd shuffles in. Groups of strangers drink on a open stage. They all cheer for the show to begin. But the lights have now dimmed – they must take their seats. With beers in their hands, many ran. Yet a few even are at that make-believe bar. For they all make The Choir of Man!

That’s enough Billy Joel for today (for copyright purposes, 80 % of the success of these lyrics is still mine – if you liked them…). Yes, it’s not quite common for a review to start with a poem (or an attempt of it), but there’s nothing common about this piece either – at least, not in comparison to what we’re used to see in West End musicals in general. It doesn’t have the traditional structure of the genre, yet it follows it. There’s not that much of a narrative in it, yet it’s story is captivating. It was first presented as a sort of alternative theatre, but for some reason, it feels incredibly mainstream while at the same time unique.

Of course, these last two are not necessarily incompatible, but both have too many spurs to fit each other on a regular basis. This, nonetheless, is one of those rare occasions. The Choir of Man is, in fact, the perfect show for the versed and the newcomers, the experts and the naïve, the skepticals and the ones that want to believe. Yeah, well, that final part may have gone a bit out of life…. (it sounded pretty though, huh?). But in all seriousness, there comes a production able to both challenge (not ruin), to some degree, what a particular artform is expected to be while keeping it appealing and entertaining to general audiences. The premise of the work is very simple, after all – as legend says (never trust a writer when they talk about their process in the programme – they fabricate tales for a living), its inception came over a pint at one of the creators’ garden. But it’s development is quite the opposite.

Song and dance are just one more tile in this huge mosaic of talent, where the alternative and the commercial merge together with smooth pace – going from touching renditions of well-known tunes to fringier (though always accesible) performances of live poetry, all of it with one sole purpose: exploring the bonds of men. For love comes in many shapes, and some of them may be put to words that often – but they are no doubt displayed and proven without much effort. There are many ways to define masculinity, but perhaps that sense of fellowship and statelisness is the highest and purest of them all. And among all these flashes of reflection, jokes, stunts, interaction with the audience, live music (it’s not only the orchestra that plays instruments) and few gifts you may be lucky enough to catch on the air (just remember that coasters have sharp edges…) are to lighten or even spice and heat the mood all through the night.

With some of its creative team also being part of the cast, the other grand achievement of this production is precisely the excellence of its troupe – as their extended abilities (not only reduced to what musical theatre usually requires) are the strongest argument to go visit them. Of the whole group, Lucas Koch (depending on the performance, you shall see it in one role or another) is one of the most noticeable, again for his long display of artistic capability (sax, piano, tap dance…) but also his instictive stage presence. Matt Beveridge, on the other hand, is another worthy mention for his sympathetic and more emotional portrayal as the Romantic, while Michael Baxter manages to steal the show a couple of times through his natural comedy bone.

Some shows are meant to stay, some others are meant to go. The Choir of Man is strange enough to be both of them. On one hand, it’s the kind of piece you (and anyone) could enjoy over and over again – and fairly deserves to celebrate a few anniversaries at the core of theatreland. But the essence of this piece is also to keep travelling the world, to bring these ones (and not a replica cast or production) to as many cities as they can be welcomed to (trust me, there must be quite a few). And so I can only advice not to miss the opportunity to see it while it’s still in town. As a lesson that you will learn (or at least be reassured by) when watching it is that nothing lasts forever – so when something important comes your way, it’s your job to take the chance.

The Choir of Man plays at London’s Arts Theatre from Tuesday to Sunday. Tickets are available on the following link.

By Guillermo Názara