The classic short tale is reborn on the London stage through this musical adaptation featuring Irish folk music and multi-talented performers. Guillermo Nazara shares his thoughts on the show, currently playing for a limited run at the newly opened Southwark Playhouse Elphant, to share all the details about a story bound not to age well.
Five hundred twenty-five thousand, six hundred minutes… Sorry, I just couldn’t resist. They’ve made the comparison quite easy, though. At least, when it comes to time references. There were a few in that musical (Google it, for God’s sake!), and there’s A LOT in this one. It makes sense to some degree, however. We’re talking about a guy who’s fulfilled the dream my mother has longed for years and years: to age backwards. Too bad the production does not give you the recipe for that… No, wait, that may actually be a relief…
Time is an illusion. That’s how Einstein described it – and what some people quote just to look smart (damn!). This tale is one too. But its charm, to some point, is very much real. F. Scott Fitzgerald may have conceived not much of a potboiler, but with enough elements in its plot to bring out a few drops of emotion. There’s not much to tell apart from the fact that the guy is born as full grown old man (I feel sore-ry for his mum…) and dies as an infant. That may be the reason why it’s basically just the concept that’s been kept in this version, moving the action across the pond from Baltimore (oh, oh, oh) to a small fishing village somewhere in Ireland.
The evolution of his twisted timeline carries on in a similar way (there’s also an incognizant wife that has a thing for older guys -cough- and a war he wants to enroll in the army for), but everything is readapted through a darker, rawer tone. All sung through an evocative score penned by Jethro Compton, the music fairly gets to be regarded as the show’s second character – bringing out, through tuneful, rich-orchestrated numbers, the pipe-sounding spirit of Ireland. This, nonetheless, works as one of the piece’s flaws too, as its accuracy to the local folklore makes it, at least to the general ear, a bit all too similar. If you’ve seen Come From Away, you’ll understand where I’m coming from.
Moving with more than acceptable pacing, the libretto could still benefit from a few more tweaks – as some lyrics do not manage to project the same poetry the melodies exude, while the aforesaid time allusions become either repetitive or slightly distracting for the overall narrative. This is compensated, in some manner, by the production’s beautiful staging – a true teamed-up tour de force achieved by Chi-San Howard upbeat choreographies in conjunction with Compton’s suggestive design and ultimate direction.
Either way, the main topic about this production is, most satisfactorily, also its greatest strength. And that is its incredibly capable cast. Combining multi-instrumentalists, singers and actors altogether in the same performers, the company delivers the work with infectious stamina and a more than a impressive display of talent. Among them all, Matthew Burns gives one of the most stirring renditions, honestly bringing the company’s signature effort to even a higher level. On the other hand, Jack Quarton is, too, a most pleasant addition to the troupe – especially thanks to the smooth magnetism his acting brings to his main role.
The Curious Case of Benjamin Button mimics the very existence of its own hero. It’s not a perfect life, but it’s somehow exciting. This is show is pretty much the same. Sure a few more plot twists would have helped make it more enticing. And deeper observations on the human condition (after all, his story is nothing but an allegory of our biggest fear) would have made of it a brighter gem. But despite the tiny shadows shed on its surface, there’s still a whole ocean of brilliance to swim through.
All pictures credit to Juan Coolio.
The Curious Case of Benjamin Button plays at London’s Southwark Playhouse Elephant until 1 July. Tickets are available on the following link.