Theatre star Alice Fearn takes the lead in this new musical co-written by also West End figure Jon Robyns. Guillermo Nazara shares his views on the show, to let us know more about this piece dealing with the strings of a present past.
Too many years fighting back tears. Why can’t the past just die? There’s something romantic about quoting The Phantom of the Opera to start a review about a show written by the man who currently portrays him. And some accuracy, too. Ultimately, that is what this show is all about – letting go. Mmmm, now that I think of it, perhaps there was a more precise song to use… But that’s, however, as much as both pieces can compare to each other. Here we are instead talking of two happy love stories – better said, should-be happy. Because their mutual gloom stems from their clashing joy.
Then, Now and Next presents us with a story we’re no strangers to: a woman trapped in the memories of a previous relationship that haunt every aspect (and second) of her new married life. A tale that’s been told in probably over a thousand manners, the opportunities to keep it fresh and appealing still exist. But a few more stirs are necessary for the idea to brew properly. Despite relying on an compelling starting point, the show still looks raw – not because of the savageness of its themes, but due to a lack of assembly as for its ingredients.
From too early on (in fact, almost the very beginning), it is already revealed that Alex (Fearn’s role) lost the love of her life when this one passed away. And in spite of her many efforts to rebuild her life, the ghost of this love affair remains as the cornerstone of everything she feels and does. A moving premise, yet incorrectly delivered, as the plot’s structure prevents us from engaging or even caring about the struggles she’s going through – constantly seeming a bit too repetitive.
The solution, though, dwells within its own components. Why unveil the reality so fast when you can actually trick us into a more surprising, touching ending? The piece avoids a linear narration – truly, a great trait to its credit. Why, then, not take advantage of it and makes us believe she’s being unfaithful to her husband – only to finally show that those escapades were only remembrances she can’t ever erase?
Directed by Julie Atherton, the production features well executed blocking as well as a correct set design by Bob Sterrett – though a more dynamic approach would have improved its effectiveness (after all, you still see a house’s kitchen/living room even when the scene takes place in a bar). Penned by Jon Robyns and Christopher J Orton, the songs exude a charming soft rock appeal much in the style of modern musicals like Next To Normal or Dear Evan Hansen, but too many times they are not set up in the correct form, as the dialogue fails to build up a satisfying cue for them to commence.
Regardless of these flaws, the cast manages to defend the material with quite some brilliance. Alice Fearn gives a more than enticing rendition, excelling primarily with her beautifully delivered vocals. At the same, Peter Hannah stands out both regarding his singing but also in constructing an extremely sweet, lovable character despite the script’s underdevelopment. Finally, Tori Allen-Martin gives a most prominent rendition in her multiple roles, often being the ball of energy that makes the house burst into resounding laughter.
Then, Now & Then is deals with its own obstacles while trying to tell a story about somebody else’s. Yet, in this case those are not difficult to overcome. With its book being the primary issue, a full reshaping of the way it’s recounted would contribute not only to the enticement, but all in all its value as a piece of art. Then, you’ve got the idea. Now, you’ve put it onstage. Next, make it last there.
All pictures credit to Pamela Reith.
Then, Now & Next plays at London’s Southwark Playhouse Borough until 29 July. Tickets are available on the following link.