The ska-style musical celebrates its 20th anniversary by returning to its birthplace, in a new production currently playing until the end of next month. Guillermo Nazara shares his views on the show, to let us know if this comedy about love affairs is worth a crush.
“I’ll never fall in love again”, cries that little fool inside us (no kink intended) every time a relationship is over and we’re left with nothing but broken memories and the feeling of having wasted so many years (or days – thanks, Grindr). We try not to make the same mistakes, and fall for the same kind of blond guy with a tight ass that doesn’t reply to your messages… It’s a matter of the heart, alright?! But we just can’t ignore the fact that when it hits us, we moa- I mean, it hits us. And though we shake our heads and mistrust ourselves while thinking “oh, babe, here we go again” (I like fondling myself… oops…), we want to take the risk – because despite knowing how wrong it could go, there’s always a chance the impossible may happen.
The Theatre Royal Stratford East continues its newly started 2024 programming with a major celebration. Twenty years after its original opening, The Big Life returns to the place that presented it to the world before transferring to the West End, through a new montage that also reunites some of its creatives – one them even featured on scene! Inspired by the premise from Shakespeare’s Love’s Labour, the piece revolves around a group of Jamaican immigrants and their trials and tribulations when starting a new life in London. Right before arriving to the country, the men take a secret vow: they will turn their backs on any romantic affairs and avoid women forever for their own good. They’re committed to their decision, but Mama Aphrodite (you’ll get it when you see it) has other plans.
With music by Paul Joseph, lyrics by Paul Sirett and book by Joseph, Sirett and Tameka Empson, the show is a rhapsodic kaleidoscope of Caribbean glow, waving in the warmth, colour and zazz from across the ocean into the foggy streets of 1960s London. Relying on a light, tuneful score, the musical numbers are, by far, the strongest element of its writing – regaling us with so many catchy melodies and easy fun moments it’s hard not to be enraptured (at least, occasionally) by its enchantment. This, however, is in some way part of the problem too, as several compositions look as if written more for the sake of sounding pretty than serving the narrative – with a quite a few not really carrying the emotional weight the scenes require.
In addition, the conception of some numbers seems a bit off, not providing enough development throughout them, but more of a static reflection on what’s already happened – thus, halting the plot way too often without providing enough depth or introspection to justify those moments. In a similar manner, the storytelling, in general, is flawed by the same issue. The conflict is offered, but not sufficiently explored – with the action advancing without allowing their characters to experience a proper evolution, dealing with many of its themes (like for example, the prejudice towards foreigners) mainly on the surface.
There’s nonetheless a bunch of praiseworthy components – those coming from this production in particular. Jasmine Swan’s costume and set designs keep up the reverie through their eye-catching vibrancy and dynamism – crafting a true spectacle of stylized beauty and nostalgia-coated allure. At the same time, Elliot Griggs’s highly detailed lighting unwraps an intricate atmosphere rich in textures and evocative power.
As for the cast, the company boasts incredible vocal skills combined with competent acting and infectious presence. Among them, Danny Bailey makes a stand-out appearance in the double part of the Admiral and Eros, boasting a natural bone for comedy combined with absorbing onstage energy. On the other side, Ashley Samuel endows his role as Ferdy with naive and delicate charm, while bringing the house down through his forceful singing abilities. Lastly, a fair mention is well deserved by writer-performer Tameka Empson as Mrs. Aphrodite – delivering an uproarious portrayal despite her character’s interventions as a Greek chorus device getting slightly repetitive and, sometimes, unnecessary.
A simple, feel-good tale on the importance of love, The Big Life parts from a promising idea, but doesn’t quite fulfill it by not marrying entirely to its own ideas. It has all of the right topics, but still needs to find the right sparkle to make its whole potential blast. Some editing to improve its pacing, as well as a more insightful approach into their personages’ quests, can turn this funny yet not totally compelling show into a extremely enjoyable and, above all, meaningful piece of art. It’s a ravishing revue, but its journey should head into becoming a glorious musical.
All pictures credit to Marc Senior.
The Big Life plays at London’s Theatre Royal Stratford East until 30 March. Tickets are available on the following link.