The epic Exodus story steps back to the stage in this new original musical playing in the London fringe scene until the end of the week. Guilletmo Nazara shares his views on the show, to let us know if this latest adaptation of the tale of Nile manages to make the cut.
“Locust! What is this hocus pocus?”. Well, in their defense, that line still does the trick (no pun intended) better than “an endless telethon” that we wish it “were like Elton John”. And though this may not awaken the wrath of God, the plague is, however, very much real: good lyrics are at an alarming stake in recent musical theatre. The early stages of a new work are hardly ever known for their greatness (I pray that you never endure something as torturous as Phantom of the Opera‘s infamous Sydmonton lyrics), but in any case, there must always be some element of brilliance which, with the right honing, can finally eclipse away the voids that almost every pieces displays at their very beginning. The only requirement, though, is to not lose focus on the path they must follow – but most importantly, deciding which one that would be before taking any single step forward.
The story of Moses is probably one of the most musical-suitable sources to be found in ancient folklore. Passion, betrayal, love and hatred put altogether under the mystical wrap of a spiritual-driven narrative. The attempts of turning the holy tale into a grand spectacle have not been scarce, from lavish Hollywood flicks to animated features later turned into stage shows, the reinterpretations of the Jewish epic have proven to be at the top of the list for artists and adapters of every kind. With such credentials in hand, the reason as for why to bring it back to the theatre seems so blatantly obvious. Yet, the question prevails: what’s new to say about something we’ve seen so many times and in so many manners before?
Enter Go, The Musical, a pop-themed recount of the celebrated liberation from the Pharaoh’s despotic power, playing in the London fringe scene until the end of this week. Featuring music and lyrics by Adam Taylor, who also authors the book along with Mikhal Taylor, the montage returns the old chronicle to the spotlight through a modernized approach that blends a traditional musical theatre structure with some mildly uncommon elements in the genre such as verse drama. Combining humour with more seriously oriented angles, the piece manages to concoct a moderately entertaining depiction of the iconic saga. But unfortunately, it struggles to array any tinges of originality (let alone, extraordinariness) that allows it to achieve any sort of resonance.
Counting on enjoyable numbers delivered through beautifully executed arrangements, the score nonetheless boasts too many difficulties at speaking to the viewer – too often, feeling excessively bland and repetitive, and endeavouring to serve the narrative with, wistfully, very little success. Regretfully incapable of bringing up any memorable tunes in spite of its slight leit-motif-driven outline, its sounds fail to enhance neither sentiment or flavour as for what’s happening, or where. In addition, the lyrics pose as the biggest antagonist to the effectiveness of the whole piece – lacking any traces of subtlety, polished rhyming and scansion, apart from sufficient introspection to provide the characters with a voice (and thus, and most importantly, a chance to bond with its audience).
Some appreciation (or actually, the largest deal of it) should be given to the company’s dedicated efforts to make the writing take off. And though the acting could benefit from a little more refinement, it’s their vocals (in general, a true treat to listen to) that, in some discreet form, make up for the absence of a more satisfying account, as well as its treatment. On the other hand, Maya Heritage’s designs, flaunting some minor intricacy (along with a few pleasing surprises), put in tandem with a superb lighting design, help create a rather evolving atmosphere which, though not entirely transporting, is anyway able to draw variety, emotion and versatility all through the account.
Founded on an enticing subject that, nonetheless, works a double-edged sword due to its undue recurrence, Go! The Musical hints the germ for what could have been an innovative, fun and, ultimately, memorable deconstruction of a story that’s been known and told for centuries in too similar a way, but misses any specks of essence by ignoring what is true purpose is all about. While The Tend Commandments was founded on showmanship, The Prince of Egypt raised its human side by exploring the conflicted relationship between two brothers with opposite fates. For Go! to achieve the same effect, the creatives will need to find that absent factor that will let them (as well as its public) discover something new, instead of recalling what we’ve already been reminded of for far too long.
All pictures credit to Lidia Crisafulli.
Go! The Musical plays at London’s Upstairs at the Gatehouse Theatre until 28 July. Tickets are available on the following link.