Review of ‘The Mad Ones’: “Insane voices, but not crazy about the whole thing”

Following its initial run at Birmingham’s Old Join Stock, the production has pulled the brakes at London’s The Other Palace, playing at the Studio Theatre until the start of next month. Guillermo Nazara shares his views on the show, to let us know if this road-trip-themed musical ended up driving him up the wall.

Nothing’s secured in life other than the bumps that, sooner or later, we all have to face along the road. Teenage musicals have taught us that lesson in every imaginable way – from inspiring tales about finding your place in a world that seems inaccessible to sociopathic Goths restoring the high school corrupted status quo by replacing milk with drain cleaner. Oh, corn nuts!

If you were hoping for another melodious jaunt of sadistic karma, I’d love to take a psychoanalysis session with you. But regarding its story line, don’t expect anything of the sort except an accidental (and predictable) death to put the recount in motion. That is, of course, when it moves forward.

There are several aspects to praise about The Mad Ones, but none of them its plot – and very scarcely from its writing. Though parting from an interesting premise, depicting a valedictorian struggling to make the choices that will determine her future, the overall vibe of the piece is of a bland, derivative effort unable to deliver a voice of its own for the themes it tries to explore.

Penned by Kait Kerrigan and Bree Lowdermilk, the score does offer a considerable list of memorable tunes – notwithstanding the indistinctive flavour of some numbers and a general lack of originality and resourcefulness in its recitatives. The main problem, however, stems from both the book and lyrics – none of which display too much craftsmanship.

Short of subtext and subtlety, the show’s subjects are handled in a very topical manner, filled with too many cliches and, on the whole, imprinting a feel of shallowness throughout. Consequently, the resonance with the audience never materializes, as the truthfulness and introspection we would wish for are absent – and some way, replaced by a diluted version that constantly risks losing its grip on the viewer by playing it too safe, and too superfluously.

As for production values, the piece shines with more strength than it ever does on paper. Directed by Emily Susanne Lloyd, its symbolic, eye-catching staging (credited to Reuben Speed) is a definite high-point asset – beautifully complemented by Joanne Marshall’s lighting, creating a compelling, evocative, and visually stimulating atmosphere despite the limitations of the venue’s confined space.

The cast doesn’t disappoint in terms of vocals, arguably the strongest trait of their performances. Their commitment to the roles is refreshingly palpable – and, all in all, the energy they exude is infectious and galvanizing. Yet, the script doesn’t allow for their chemistry to solidify – projecting a sense of detachment from each other; and as such, compromising the impact of the piece even further.

Driving down decision lane, The Mad Ones flaunts a robust engine for a poignant, uplifting, and potentially thought-provoking spectacle but lands up stalling itself by depriving those possibilities of their fuel. Though it’s fair to say it never goes off a cliff, the reason behind it might be that, for the entire ride, it remains parked in the same spot where it started – without providing the necessary emotional arc this kind of work requires. Every worthy road comes with a toll. And when we’re talking theatre, that toll should be taken on the audience’s hearts.

The Mad Ones plays at London’s The Other Palace until 1 June. Tickets are available on the following link.

By Guillermo Nazara