He deserves to be celebrated. And celebrated, he is. Beautifully. Passionately. Sometimes, even remarkably. But not flawlessly. Far from that, in fact. The creative team is unlikely to change anything. The show played at the Ed Fringe over a decade ago, then came to London, and subsequently toured across the US, returning to its second birthplace this month for a two-week run.
Clearly, they’ve found an audience, which is niche (and might not be around for long) but loyal anyway. I happen not to be one of those. The sad part is that I could have been, but they couldn’t win me over — and I have a hunch I might not be the only one.
If one should always start with the positives, I’m happy to comply this time. There are so many, most of which are genuinely impressive. A cast of four acts, sings, and plays an endless array of instruments to tell the life story of American folk icon Woody Guthrie, whose place in the musical firmament is only eclipsed by his fervent quest for social justice.
The performances are impeccable. The vocals are strong and soulful. Their instrumental versatility is utterly extraordinary. From acoustic guitar to violin, cello, and a bit of musical spoons, there’s virtually nothing any member of the company can do and shine at, even if it involves a few slightly acrobatic gimmicks. And similarly, their multi-role portrayals teem with authenticity, flexibility, and heartfeltness.
But although their renditions are highly enjoyable, the script isn’t even half as skilled. The narrative approach meanders between a documentary presentation and a dramatised recount. Being undecided about its nature isn’t a problem. It could be both and benefit from that duality. The issue stems from its inability to sift the facts and choose which ones to explore.
Wistfully, that selection is never made. From start to finish, we’re bombarded with infinite information about Woody’s 55 years of existence. That is a lot to cover considering the show is barely 90 minutes. Without a clear focus, the script can only deliver a shallow sequence of events that, albeit educational, fails to build any emotional bonds with the viewer.
It’s impossible to connect with or root for any character. Not even its protagonist. Despite a traumatic childhood, experiencing extreme poverty in his youth, and becoming the enfant terrible of radio stations due to his political outspokenness, the plot struggles to generate enough conflict. And although he faces countless devastating personal losses, the pathos never solidifies.
Established followers might still approve, but the show is a long way from excelling on a dramaturgical level. Despite some exceptional musical segments, the piece doesn’t offer much else from a creative perspective. And it’s improbable the performance will form the next generation of Woody admirers. This land might be their land as well, but the writing doesn’t make it enticing enough to attract new visitors.
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Woody Sez: The Life & Music of Woody Guthrie plays at London’s Underbelly Boulevard Soho until 19 September. Tickets are available on the following link.