Review of ‘Get Down Tonight’: “Garish production limits audiences to put on their boogie shoes”

The story of KC and The Sunshine Band travels to the London stage through this jukebox musical running at the Charing Cross Theatre until mid-November. Guillermo Nazara shares his views on the show to let us know if this journey into the Golden Age of disco music is the audience’s next sweet love.

I may have gone and shaken (shake, shake, shake) my booty as the song instructed. But despite the show’s ongoing flash and glitter (which, I’ll admit, came off impressively well), I can’t say I could be arsed about Harry Wayne Casey’s not-so-deft attempt to tell his personal story through the songs that defined his career, several generations, and admittedly a path in its own right within the music industry.

In all fairness, the prominent flaws lingering in his theatrical autobiography should not be blamed on the guy who just wanted to go party, though that wish might be the basis for its narrative ineptitude. If you’re looking for culprits, bookwriter J. F. Lawton may be entitled to a custom version of KC’s signature ‘Please Don’t Go’ — the title, however, might need to be cut one word short.

Jukebox musicals are hardly known for their insightful scripts. That’s not necessarily a problem. You can’t expect profundity in something conceived as a feel-good, banger-filled amusement — neither should the authors aim for it. However, establishing a bond between the characters and the viewers is crucial for any recount to work. And despite the countless opportunities the plot offers, it seems like the creatives have been deliberately looking away so they could avoid them.

All the roles feel terribly sketchy, and it’s not like the source material can be used as an excuse for such a flat outcome. Here, we have an underdog artist dreaming of making his first professional record. Another rags-to-riches tale that easily resonates with the public, and whose poignancy is quite difficult to sweep away.

To make that effort even more challenging, it all happens amidst the outbreak of the 70s cultural revolution — a time of sexual liberation, political nonconformity, and a defiance of old traditional values. And to add one more firewall, we are presented with a romance between two men, followed by heartbreak, and the horrific losses that the gay community experienced during the 80s AIDS crisis.

Somehow, Lawton’s writing has managed to surpass all those obstacles and deliver a shallow and extremely clichéd text, where the personages have no authenticity and their arcs are virtually nonexistent. The most excruciating part of it, nonetheless, is his hopeless attempt to think out of the box by giving the narration a metatheatrical frame.

The show opens with Harry bumping into her lifelong best friend, as he expresses his desire to make a musical about his legacy. That’s all it takes for the lecture to begin — and trust me when I say that it’s not quite an inspiring one.

I can’t think of anything duller than explaining inner dramatic tools. To turn that into its touchstone is just to shoot yourself in the foot, and to do it in a very clumsy way. Greek-chorus characters can bring an extra element of spice to the recount, but reducing them to a pedantic speech about the musical theatre formula only clogs the flow and exposes weaknesses, accentuating the piece’s lack of originality while simplifying the role to a greater extent.

Regardless of these significant problems, the performance still comes across as thoroughly enjoyable. All in all, the whole repertoire fits well within the account. Each number serves its purpose, constructing a sound structure and conveying highly enticing moments that are either emotionally arresting or simply eye-popping.

The production earns the credit for most of the accomplishment. Lisa Stevens’s energetic choreography is visually gripping, while her effective blocking creates a smooth journey throughout the story’s universe.

Jai Morjaria’s exquisite lighting is mainly responsible for its success. Playing to the highest West End standards, his design seamlessly transports audiences from one scene to another with absolute prowess. Its level of detail is genuinely awe-striking — intricately depicting each setting and subliming its beauty, while also underpinning their sentimental reading.

As for the company, all the renditions excel in their technical skills. Their faultlessly executed dances are just a treat to watch. And their powerful, unblemished vocals are arguably their proudest achievement. The acting, nonetheless, needs work. All the portrayals are engaging, but none of them feels sufficiently layered. There’s also a sense of imbalance in their approach — Ross Harmon’s interpretation as KC is slightly lethargic, while Rachael Kendall Brown’s impetuousness could be taken down a nudge or two.

If you’re on the lookout for an easy evening at the theatre, you may want to do as Get Down Tonight‘s title suggests. Yet, sacrificing dramatic strength for plain spectacle might end up self-defeating even the least cerebral show. Although viewers may get lifted by its positive energy, its poorly resolved narrative is unlikely to receive their unconditional love. I don’t know about others, but for me, that’s not the way I like it.

All pictures credit to Danny Kaan.

Get Down Tonight plays at London’s Charing Cross Theatre until 15 November. Tickets are available on the following link.

By Guillermo Nazara