Stew’s autobiographical musical travels from the Broadway scene through a limited run playing at London’s Young Vic until mid summer. Guillermo Nazara shares his views on the show, to let us know if this piece dealing with personal self-discovery is however at a loss.
“Life is mistake. And it’s art that corrects it”. The haunting beauty of that powerful line can only compare to the truth that lies beneath it. Yes, by all means art is, so many times, the only force capable of mending the terrible wrongs that plague the world. It’s an instrument of sympathy, of understanding and connection. It transforms our views and changes the course of our paths. It makes us see through the eyes of others. And it allows us to look at ourselves through a new pair of our own. It brings joy and sadness to our spirits. But ultimately, it provides us with both the peace and excitement our hearts yearn for, and which they can only get by the merging of two souls.
Last night, the London theatre scene welcomed the transfer of the anticipated Broadway musical Passing Strange – a biographical recount written by Stew, and featuring music penned in tandem with Heidi Rodewald. A tale of struggle and self-discovery, the piece narrates the process of a budding artist coming to terms with his own personal goals, as he travels to Europe to connect with its buzzing cultural climate – as he gradually finds his real identity, as well as the place where he belongs.
An uplifting, introspective jaunt exploring the inner conflicts of a young man trying to release himself from the chains of his upbringing while letting his actual self bloom, the show offers a sharp, witty look into the character’s quest – poking fun on his experiences through deliciously bitter irony, serving as a comment on the hypocritical essence of human nature.
With a compelling score which, though not excelling through its intricacy, still manages to entice through the visceral appeal of its themes, the montage is an explosion of performing spectacularity – regaling us with a ever-going stream of numbers exuding lyrical passion, melodious fierceness and visual awe. In addition, the dialogue is endowed with electrifying strength – concocting remarkably insightful, philosophical observations while always preserving organic flow and elements of amusement.
And yet, the work still looks like unfinished somehow. It has all the components to be a meaningful, stand-alone oeuvre that marks a turning point in its genre. But sadly, the result is closer to being on the way to than reaching the finishing line. The reason why is hard to spot. And chances are that it may be an amalgam of small details. But surely, one of the main issues stems from the manner it’s been crafted.
Arranged as a rock concert where the lead singer takes us down a fictional lane through the words of his repertoire, the montage presents us with an interesting, meta-theatrical approach which, though not completely innovative, it still refreshing. Nonetheless, the sense we get a bit too often is, in fact, the opposite. It doesn’t feel as if it’s a musical conceptualized as a gig, but an album taken to the stage without the sufficient polish to make it fully work dramaturgically – with the slightly excessive use of the raconteur probably being the key contributor to such a flaw.
As a result, we are entertained, but not that much moved – as the personages are not given enough space to unleash all of its potential. In addition, the protagonist’s evolution is stated, but unfortunately not entirely exploited – not giving us the sensation of being taken through a complete journey, with a great deal of its aftermath sketched, but wistfully not being offered much of a voice.
In any case, the renditions may be a more than sound motive to let yourself be taken by the production’s incipient allure. Boasting incredible magnetism, rapport and flair, the whole cast, consisting of barely five actors as well as Giles Terera as Stew, portray their multiple roles with engrossing dexterity and captivating charm – delivering extremely likable renditions that, apart from their infectious stamina, ooze commanding presence and impeccable vocals.
A contemplative ride into the corners of a person’s soul, Passing Stranger brings showmanship and thought to its convoluted plot – taking us through passages of reflection and enlargement much in a way older predecessors like Pippin have done, but not fully allowing us to be part of that process – still failing to hatch the universality it requires to entirely bond with its audience. Of course, different backgrounds will lead to different perceptions in each viewer. But when it comes to art, its ability to stir should surpass any of those boundaries.
All pictures credit to Marc Brenner.
Passing Strange plays at London’s Young Vic Theatre until 6 July. Tickets are available on the following link.
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