Review of ‘The Curious Case of Benjamin Button’: “Enduring by the minute”

F. Scott Fitzgerald’s classic tale relives on the London stage through the West End transfer of its new musical theatre adaptation – starring Olivier Award winner John Dagleish as well as Olivier nominee Clare Foster. Guillermo Nazara shares his views on the show, to let us know if this rejuvenating take on the ageless story manages to clock up enough clout.

If I could turn back time… I hear you, honey. There are in fact so many things I’ve done in the past that I don’t feel proud of… Would I do them again? Probably. Do you need to delete my browsing history and destroy my computer the day I go? Well… how did you know I had all that stuff about you?… Moving on (if you can…), the wish to surpass the inevitable toll of time is, in fact, one of the most intrinsic parts of our human essence. We dream of never growing old, of staying young forever. And as such, countless forms of artistic expression have explored that concept through every possible philosophy – with Hollywood making sure we understand the dangers of going against our nature; in and outside the screen…

F. Scott Fitzgerald’s short tale about the reverse-aging man is no newcomer to the audiovisual field. Back in 2009, a film version starring Brad Pitt and Cate Blanchett wowed audiences across the world – and disappointed me tremendously. Yet, even my… (you know what? I’m not telling you how old I am) self could see the story’s potential for a musical… Sadly, though, someone else has beaten me to the punch, so now I’m here reviewing their show instead of enjoying the sweets of glory. Isn’t life a wonderful thing?

Forget everything you knew about the movie, though. And also, the musical bears no relation to it. Instead, a completely new plot (also different to Fitzgerald’s original narrative) unfolds. He’s still born old… and surprisingly, 6-foot high when he does – kudos to that… open mother… But whatever happens next is fairly different. And fairly Irish – in music, style, visuals, and of course, accent.

With book and lyrics by Jethro Compton and music by Darren Clarke (also contributing to the words), this new take on the American lore flies its setting to the other side of the Atlantic. And as the Celtic chords of its folk-themed score transport us from Baltimore to a little fishing town by the British Isles, a new version and journey of the character unravels onstage. It’s the same principle, but presented through a different set of spectacles (in every sense of the word). Because that’s what, in all fairness, this show is all about: pure spectacularity which, unexpectedly, does not stem from its production’s budget, but the immense talent that exudes through every and each member of its cast.

Led by John Dagleish and Clare Foster, the whole troupe is, however, the true star in the montage – boasting such an incredible collection of skills like very few other shows do. Not only do they sing (with astounding prowess). Not only do they act and dance (with refreshing chemistry and flair). They are also capable of making up for the absence of an orchestra – not because they’re performing to pre-recorded tracks, but because they are, indeed, the live musicians too.

As a result, the company effortlessly triggers and preserves its awe-striking flair all through the performance – thanks to the enthralling dexterity every component is continuously able to display. There are simply no flaws in their execution, where their passion, rapport, and technique are their most rooted definers. And correspondingly, they become the most robust asset, as well as the ultimate driver of the show. They could be chanting the numbers in the Yellow Pages for all they care – and there would still be a reason to come watch it just because it’s them who are doing it.

Such an outstanding accomplishment manages to make up, in some manner, for the shortages the writing presents. Though featuring a beautifully haunting, shiver-inducing score, there’s still a light lack of pathos preventing the recount from fully maturing. The problem resides primarily in its pacing: while the action is generally well-timed, there’s an absence of introspection to let us bond deeper with the personage’s evolution – leaving us with the sensation of a work that clearly understands the musical theatre formula (perhaps, way too accurately), but hasn’t made the same effort to understand itself as an individual piece of fiction.

Anyhow, none of these issues should halt you from taking a trip to what’s probably one of the most exhilarating adventures in the London scene right now. But, since my house is not open for public attendance, The Curious Case of Benjamin Button can anyway provide you with an evening of utmost enchantment and true theatrical pleasure. Evocative, wondrous, and whimsically charming, the remarkable intricacy of its delivery serves as a formidable example of what good theatrical craftsmanship can bring – and as a fair reminder of what it should always aim for. It’s a celebration of all the qualities that make the live-show experience something unique and irreplaceable; and for that, it should be lauded, and perhaps revisited, time after time – I guess I needed a second gay-icon reference after all…

All pictures credit to Marc Brenner.

The Curious Case of Benjamin Button plays at London’s Ambassadors Theatre until 15 February. Tickets are available on the following link.

By Guillermo Nazara