Review of ‘Stalled”: “They sure can sing in the can”

The King’s Head Theatre hosts the London premiere of this new original musical, exploring the journeys of different women coinciding at the same office lavatory. Guillermo Nazara shares his views on the show, to let us know if its attempts of pumping the drama end up going down the toilet.

I have very little respect for people who treat others badly just because they think they’re more important than the rest. Do I do it? Yes. But the difference is that I know that I am better, so it makes sense. However, when it comes to musical theatre, we all love to root for an underdog, especially if that concerns a struggling working class mother trying to get her sh*t together – which, in this particular case, couldn’t be more accurate.

This is exactly what you’re thinking. I know how your mind works – and I keep telling you: seek therapy immediately. But apart from that, yes – this is happening where people go take their dumps. But maybe it’s more than that. It definitely is more than that – period. So many things going on in the toilet – if my walls talked… or moaned… And in this one, the most soulful, redefining moments are to take place. The characters’ lives may be obstructed, but they’re about to find their own flow (no relation to my previous pun… I swear…).

Yesterday, London’s King’s Head Theatre opened its cubical stage to Stalled, a new musical dealing with the trials and tribulations of women of different ages, backgrounds, and journeys. Separate stories come together through lavatory chit-chat and pipe dreams, as the space’s grieving cleaner continues to cling on to the memories of a past that will never return.

With music by Andy Marsh and Kyle Puccia, and book by Liesl Wilke, with all of them contributing to the lyrics, the show brings its little house down with a refreshing repertoire flushed with vibrancy, charm, and melodiousness – as well as an entertaining plot, which though not the most developed or unique, manages to beguile viewers through its compelling themes and resonant values.

An intense 90-minute ride that leaves no room for emotional rest without ever feeling draining, the piece is an uplifting, sometimes electrifying blast of spine-chilling renditions – which, despite some occasional errors in pitch, still earn the almost instinctive applause they’re all encored by.

There are some flaws to be tackled, nonetheless – as its plumb flat choreography fails to match the rousing spirit of its song list. On the other hand, though the script is generally well paced and crafted with narrative prowess, several lines could benefit from some further thought – sometimes, sounding a bit too cliched, preventing the characters from speaking their own truth. In addition, it couldn’t hurt to spice up its overall endearing American humor with some pungent British bitterness – well, actually, it could hurt, but that’s the point.

Regardless of these minor loo-se elements, the performance still flaunts strength all throughout – reinforced by some truly intoxicating portrayals, put together by a highly committed cast boasting great energy and rapport altogether. Among them, a first mention is to be given to Josie Benson as Cynthia, brandishing extraordinary vocal skills, blending unblemished technique with colour and personality. Yet, the biggest praise goes to Lauren Ward in the lead role of Maggie, not only displaying some exquisite singing, but gripping our hearts by pouring hers out through a much poignant and drawing interpretation.

When I attended this show’s media call, somebody in the creative team said that men would also be enticed to see it – even if it was set in a ladies toilet. The reason? We all have mothers, sisters, Karens… That’s bollocks. We will come, but not for that. No one cares about what affects others, until it hits close to home. This may be a tale of Janes, but certainly a few Johns will see themselves reflected in it, too.

With an earwormy score, incidental sharp observations on life, and a safe though touching storyline, Stalled thrives with universal appeal by inviting audiences to trough its tuneful sentimentality – delivered through utmost hair-raising numbers and delightfully inspiriting messages. Though some extra polish would allow the show to achieve a more defined shape, it’s no privy matter that it has successfully tested the water in the London scene, nonetheless. It may not be the pee-rfect musical, but it surely has the potty-ential.

All pictures credit to Johan Persson.

Stalled plays at London’s King’s Head Theatre until 23 March. Tickets are available on the following link.

By Guillermo Nazara