London’s iconic Riverside Studios host the world’s first run of this original musical about the conflicts between reason and faith. Guillermo Nazara reviews this show starring Madalena Alberto and Tim Rogers, to let us know his thoughts about a this romantic comedy dealing with a deeper philosophical tone.
Twisted every way… What answer can I give? We’re talking of a show ’bout science and belief. Hire me, Andrew, you know you want to. But putting my desperate tries for attention apart… Well, in that case I should end up this review now… You know what? I am what I am. And so is Killing The Cat, a new musical currently playing at London’s Riverside Studios for a limited run, which also happens to be its first one ever. Penned by lyricist and bookwriter Warner Brown and with music by Joshua Schmidt, the show is a playful romantic comedy where love will find its way (or at least, it will attempt) pass one of its oldest rivals: the clash of convictions.
Starring potential candidate to musical theatre lore Madalena Alberto (previous credits include Les Mis, Cats, Aspects of Love), the piece tells the story of science eminence Maggie, who after burning out from the rut of her life, takes a trip to Italy with her best friend Sheila. Soon after landing, things will take a hopeful twist when she bumps (and feels struck by) local resident (and Australian hot stuff -or stud-), Luke (played by Tim Rogers) – sensing an imminent strong connection that will ironically hang by a thread: he’s a strong religious devotee, while her only devotion is scientific facts.
Taking an interesting an idea as its premise, the whole narrative doesn’t manage to live up to its intentions – the characters’ development, both regarding the plotline’s evolution and their traits, being the core problem of the entire malfunction. Their motivations, despite some songs dealing with more (and perhaps too many) philosophical themes, are vague in general, to the point that on several occasions it’s difficult to understand what the roles’ goals and use within the story’s framework are. Sadly, we don’t get to bond with them, as the pacing does not allow us to connect with what they are going through, let alone their choices and decisions. We’re told what they feel, we’re suggested how we must feel, but we do not feel invited to endure it.
The piece still holds some touching power, which is reserved to Schmidt’s captivating score. Composed in the same light pop-rock style we can hear in musicals like Dear Evan Hansen or Heathers, but still bringing out a bit of its own flavour, his songs are able to transport us through different sets of emotions – carrying us closer to the characters’ journeys. The lyrics, on the contrary, do not provide us with the same experience, as the lines often sound too blunt and in lack of subtlety – good words are not the ones that tells an audience what is going on, but the ones that make them realize it.
Directed by Jenny Eastop and with Set and Costume Design by Lee Newby, the blocking also results a bit confusing on several moments, moving actors around a space that doesn’t seem completely suitable for the tale they’re trying to recount. As for the cast, the whole troupe is actually brilliant, giving most compelling performances that help the material to have a stronger beat. Of all of them, Madalena Alberto stands out through her warm, intimate rendition and astounding vocals, this last achievement also shared by Joaquin Pedro Valdes as life purpose-seeker Connor.
Musicals can and are encouraged to be deep – just as any other work of fiction. But for such insight to pour down, first you need to dig further. Killing The Cat feels more like a draft than a finalized product – as major changes are crucial for the show to finally take off. The idea is good, but the writers still need to get more acquainted with a plot that’s still in the process of blooming. Let it flow and then start giving it shape. A new title will also aid.
All pictures credit to Danny Kaan.
Killing The Cat plays at London’s Riverside Studios until 22 April. Tickets are available on the following link.