Review of ‘[title of show]’: “Just listen to my ‘I want’ song”

The 2008 Broadway musical lands on the London fringe scene through this new production playing at the Southwark Playhouse until the end of the month. Guillermo Nazara shares his views on the show, to let us know if this parody on theatre craftsmanship ends up being a comedy of errors.

Ah, the joyful naivity of new writing. I remember when I, too, thought how the very first work I produced would be a masterpiece. And the fact that that’s exactly what happened only kept me humble – for I always remind me of, no matter how insanely good I am… I’m not sure how this phrase follows, to be honest. Seriously now… You’re supposed to stop me and say there’s nothing funny about me being great – because it’s only accurate! Oh, wait – this a text… Doesn’t matter – f*ck you too! Let’s go on with the review.

Imagine two young gay men (just guessing…) getting together to create the next big spectacle – and you’ll get the recording I made with my hookup last night… But also, this is the story taking place in [title of show], a meta-theatrical journey exploring (and spoofing) the development of a Broadway musical – all the way from cozy fringe to the bombastic Great White Way.

I know what you’re thinking. I know what you’re doing – you should be ashamed of yourself… But also, I understand how the picture of a musical within a musical can make the most loyal stagy fans drool – and perhaps, something else too… The premise is, in fact, quite a good one. If you love theatre, chances are you also love its craftsmanship. And to make a parody of the genre while also paying homage to it, it’s a concept that, no matter how many times it has been exploited and the rotten things they might have come from it, continues to work.

But shows are more than just a vague idea, and [title of show] proves that point quite consistently – though, perhaps, not to its best benefit. Penned by Jeff Bowen (music and lyrics) and Hunter Bell (book), the piece takes us through the evolution of the fictional Broadway gem, as it tries to convey a message of understanding to every struggling writer who’s ever been involved in a similar process; me, for instance… Gee – I still remember the first show I joined in as a creative… I tried to write a comedy based on my experience there – it ended up as a horror.

The intentions are right, but they’re approached through the wrong path. It just feels too empty and not very original for most of the part. There’s also great deal of cliches that have a pass, nonetheless, as there’s a parody purpose. But to be fair, the jokes sound lazy and predictable quite often, most sadly – to an extent that, many times, prevents them from landing at all. On the other hand, the pacing looks off quite consistently – with the plot generally moving too fast to allow the viewers to be taken by the situations, and subsequently care for the obstacles the characters must face.

Directed by Christopher D. Clegg, the staging functions quite smoothly as for its blocking, though the set design doesn’t appear to be the best choice in regards to the versatility it’s supposed to go for. As for the cast, the company excels through their magnificent vocals – flaunting flawless technique and an overall fine colour in their singing. Yet, there’s an absence of energy and chemistry in their delivery that compromises the effect of their performances – charming to listen to, but lacking that level of stamina and humourous flair that’s indispensable for any comedy act to finally work.

Putting the spotlight under the spotlight, but still far from reaching its eleven o’clock number, [title of show] sets up an inviting theme which, had it been handled in a more cohesive, witty and amusing way, could have made more than just a song and dance out of its premise. With all the basics already in place for what, though not the greatest, could still be a fairly amusing piece of entertainment, a more perceptive, edgier and sharper look into the wonders of showbiz (now think of the shrillest sarcastically bitchy tone you could ever come up with) is the missing prop to make the whole montage come together – and finally bring about the reality it so passionately dreams of; but unfortunately, as of now, it’s still waiting in the wings.

All pictures credit to Danny Kaan.

[title of show] plays at London’s Southwark Playhouse Borough until 30 November. Tickets are available on the following link.

By Guillermo Nazara