Review of ‘FLOP!’: “Broadway parody cabaret is in tune with its goal, but don’t get too carrie-d away “

I know what you’re thinking. It’s like the title is begging me to be scathing. But that’s not what’s happening today. I shan’t be giving a glowing review either, I must warn. Although there is potential, it’s still a long way from becoming the uproarious cabaret parody it aims to be — or that it thinks it is. Its concept might be simple, but that shouldn’t limit its possibilities. And maybe, the script should take a lesson or two from the failed shows it so vehemently spoofs.

If you’re a musical theatre fan- and if you’re reading this article, chances are you have found your corner of the sky in this genre (I hope you get it) -surely you’re aware of the catastrophic fiascos Broadway and the West End alike have witnessed over the decades. From clueless adaptations of Stephen King’s novels, which intended to dress the company as ancient Greeks, to unnecessary sequels to all-time classics, the options are as infinite as they are ridiculous — and also, fun to learn about. And learning about them we do, but not in the most fun way.

Singer and comedian Arthur Hull demonstrates a fervent passion for the art form, which inevitably permeates his rendition. As a result, there’s a drive that keeps the show alive despite its shortcomings. None of those is massive, but they’re numerous, anyway. And all of them are crucial to the show’s effectiveness. And ultimately, to its success.

Hull’s performing skills can only be described as those of a jack-of-all-trades. For the most part, he is adequately competent in everything he does. But except for his piano playing, which is admittedly above average, he never truly excels. And occasionally, the flaws can get a little too big to be overlooked — or borne.

Overall, his voice is potent and colourful. However, his technique is far from polished. As such, his interpretation is affected by major pitch and placement errors way too frequently. Sadly, the number of songs tarnished by his defective execution goes above half of the repertoire. And although a few are immaculately delivered- clearly, contemporary soft-rock is the register he’s the most comfortable in -some others are completely butchered, with ‘Till I Hear You Sing acquiring an unintentionally ironic meaning.

The same criticism can be applied to his abilities as a showman. His presence is warm and inviting, but it lacks the necessary confidence and magnetism. Consequently, there’s not enough organicness and spontaneity. And that prevents its humour from its landing- the fact that most jokes aren’t too funny might have contributed as well -and the performance from taking off.

Eventually, the whole thing becomes repetitive. Apart from some musical theatre trivia and sporadic audience interactions (which will make a monkey out of some off-guard viewers — quite literally), there’s not much else on offer. The structure- or the absence of it -doesn’t build to anything. And although a cabaret piece doesn’t require a robust narrative, its absolute nonexistence proves to be problematic in this case.

You will enjoy yourself. But don’t expect fireworks. Or exquisiteness of any kind. Ultimately, FLOP! stands in between the two groups it honours. It’s too good to be added to the list of New York and London’s theatrical abominations. But there’s nothing remarkable in it to make it shine as the hit tunes those musicals could at least take solace in. In the end, it’s just a random collection of songs interlaced by a very weak thread. Even Spiderman can cast a stronger web.

FLOP! The Best Songs From The Worst Musicals will play at London’s Wilton’s Music Hall from 24 to 26 September. Tickets are available on the following link.

By Guillermo Nazara