Andrew Lloyd Webber’s romantic musical returns to London in this new production starring international musical theatre legend Michael Ball. Guillermo Nazara shares his thoughts on this revised version, to let us know which kind of a heart breaker this show is.
Seeing is believing. For better… or worse, I’ll give you that one. A simple statement opens the new adaptation of one of Webber’s most revived musicals. There must be a reason why it comes back so often. But also one why it never manages to stay. Penned by some of the industry’s most popular, even respected, creatives (the original production was directed by none other than Trevor Nunn), the piece seems however problematic from its very heart (no pun intended). It may have the basic ingredients for a lush romantic musical, but the reactives seem to collide in the final formula.
Based on David Garnett’s 1955 novella of the same name, the show revolves around the lives of young love-struck Alex Dillingham, his long-lasting crush Rose Vibert, his uncle George and affair interest, Giulietta. Over the course of 17 years, their relationships will evolve and intermingle – in a way that certainly was daring in the 80s and still is now but in a different manner. It hasn’t aged well. The idea of free love and breaking the abidance of social norms is enticing, even laudable, but the form it’s been carried out is incorrect. There are too many grounded reasons not to approve of incestuous liaisons, while all the other questions raised about traditional rules are something we outgrew a long time ago.
Featuring a couple of good old Webber catchy tunes, the score is nonetheless faulty when it comes to serve the narrative. Not only do many of the recitative sections lack the emotional boost and the melodic aptitude he is known for, but also the words seem misplaced and the overall composition, unstructured. If either that’s its songwriter or lyricists’ (Don Black and Charles Hart) fault, I can’t really tell. The production does manage to make an exceptional achievement regarding this aspect, though (again, no pun intended) – and that’s the use of a big, varied live orchestra. A more than praiseworthy decision that, apart from bringing lavish new textures to the music, also dignifies a profession that’s been so jeopardized lately by pre-recorded tracks.
Directed by Jonathan Kent, the production (with set and costume design by John McFarlane) is beguiling at some points, but also looks incohesive and unimaginative at others. Relying on black-box effects as both a transitioning and attention-drawing device, some resources such as Expressionism inspired backdrops propose an interesting take on the show’s general aesthetics, but sadly this is not delivered with sufficient originality – sometimes utilizing too simplistic or even lazy techniques like the rather unnecessary projections on a front gauze.
There’s one only thing that resonated about this montage when it was initially advertised. It’s also become the one true reason to come see it. And that is Michael Ball. Theatre celebrity status apart, his rendition of George is actually quite remarkable – still exuding the magnetic steaminess that’s always characterized his work as a singer and, sometimes, also as an actor. On the other hand, Jamie Boglyo gives a memorable performance as Alex, a role inherited from his onstage mentor – endowing him with some infectious stamina and, above all, further sympathy.
They say that success can be both blessing and curse – especially if it transforms your name into a trademark for fandom. Aspects of Love is an unfortunate follow-up to some of Lloyd Webber’s greatest masterpieces – and a prelude to one of his last biggest hits (there were more than a few of Sunset Boulevard germs scattered all around). Yet, if nostalgia is your cup of tea, you may find yourself gifted with a full kettle of it. Eventually, there are indeed a couple of aspects to like, but wistfully, none to love.
All pictures credit to Johan Persson.
Aspects of Love plays at London’s Lyric Theatre from Monday to Saturday until 11 November. Tickets are available on the following link.