Review of ‘Treason’: “It’s finding its spark”

The most explosive event in Britain’s history erupts on stage through the return of its musical adaptation. Guillermo Nazara shares his views on the show, to let us know if this limited-running production is either a blast or a bombshell.

Imagine a world where you can live fear-free. A place where you’re welcome to speak and to be… Well, those may have not been the show’s lyrics, but hopefully it will ignite some interest in you. Wink, wink… Alright, I’m sorry. Picture a story of love, conspiracy, brotherhood and betrayal. A tale about social struggles and the sacrifice of one’s own life for the sake of a better one. Turn it into song and a tiny bit of dance. And there you go. Here’s Les Mi—… I mean, Treason – a new (sort of) musical recounting the events that gave Guy Fawkes a dubious place in history, and the contentious circumstances leading to the infamous Gunpowder Plot.

Written by Charlie Eglinton (book) and with music and lyrics by Ricky Allan, the work depicts, with some licences, the injustices part of the English population were dealing with on account of their faith – with the Catholics being once again prosecuted (contrary to King James’s original promises) as a result of a carefully orchestrated plan to save the crown from bankruptcy. Using the character of Fawkes as the narrator figure (with very little interaction with the piece’s action, most surprisingly), the play revolves around Thomas Percy, and the evolution from his initial support (and high hopes for the new reign) into the realization of the only outcome that can protect his own kind.

Relying on the romance with his fiancee (and later wife) Martha as its main focal point, the show parts from an exciting and quite humanizing premise: it’s not that much about what happened, but about the people that made it happen. However, we don’t get too see too many sides of it – with the script spending far more time diving into their relationship than exploring other subjects that should be equally important for the recount. We are in fact presented with some numbers covering how the conspiracy is devised, but deeper values stemming from it, like the sense of camaraderie or the concern for treachery seem slightly unheeded – a problem that also compromises the pacing, not allowing the tension to effectively unravel.

While counting on very well crafted tunes (all of them excellently orchestrated), not all the numbers appear to do the same justice to the narrative – some of them even halting it by using too many female belt-out songs that, though beautiful, contribute very little to the story’s evolution. On the other hand, many of the songs are short of a proper conclusion, many times ending in a not too gratifying way – a most striking trait in this case, after regaling us with such an exquisite, and much enticing journey of emotions.

The lack of leitmotifs throughout the score is also noticeable – not only due to the conventional (and quite practical) idea of structuring a period musical through that style, but also because the complexity of the plot would be eased up; making it more accessible while enhancing the soundtrack’s driving power. At the same time, its framework seems unbalanced: there’s a consistent absence of dialogue when building up the transitions from song to song, while other snippets are desperately craving for music (the King’s first appearance is, most probably, the best example). Finally, the opening number also feels unfulfilling – looking underdeveloped and without the strength and grip the start of a show is expected to be like.

With a compelling set and costume design by Philip Witcomb (reinforced by Jason Taylor’s atmospheric lighting), the production features eye-catching staging despite its simplicity. Nonetheless, part of the choreography (credit to Taylor Walker) seems inadequate at several moments – in some way, not fully connecting with the scene and what they’re tyring to tell.

On the other hand, the separation of Guy Fawkes, presented as a mere observant of what’s going on, prevents the narrative from carrying out a steady flow – something which could have been dramatically avoided by letting him take part in the action (after all, the real one did) and then using his monologue excerpts as asides. Also, the conclusion feels rather confusing – not in terms of storytelling, but outlining; leaving us with a sense of dissatisfaction and, all in all, yearning for a good bombastic piece to finish.

As for the cast, the whole company stands out as one of the most enjoyable (and definitely, strongest) elements in the entire production. Exuding, above all, staggering vocals, Nicole Raquel Dennis (Martha Percy) gives one of the most enduring renditions – a mention fairly shared with Joe McFadden, thanks to his energetic (and most amusing) performances as King James. Yet, the highest praise goes to Sam Ferriday in the lead role of Thomas Percy, thanks to the charismatic allure bestowed to his portrayal – also proving enthralling singing abilities which, despite its technical polishness, still emanate effortless naturality.

A grasping, lavish piece of theatrical adventure, Treason has returned to London with a well-drawn scheme, but still needs to machinate its contents further in order to blow up. With a first act much more elaborate than the second, the piece is no doubt one of the most promising musicals in this last season, but it’s still a long a way ahead of making that vow a reality. A more evolved book, deeper character development and some adding and tossing in its repertoire are the key steps to let its full potential burst – finding the equilibrium among its components to let its flame come up. As with everything, it’s all about getting the right match.

Treason plays at London’s Alexandra Palace until 18 November and at the London Palladium on 21 and 22 November. Tickets are available on the following link.

By Guillermo Nazara