Book Review: Backstage Confidential

Review by Jack Casson

⭐️⭐️⭐️

Eden Phillips, lyricist, stagehand and occasional producer, clearly has a varied history with theatre, and his new memoir (of sorts) takes a peek behind the curtain as he outlines his beginnings as a casual stagehand to his frolicking amongst some of the largest names in British theatre. Phillips reaches back into his memories, providing anecdotes about some of the biggest productions of the 60s and 70s whilst reflecting on the personal relationships he built with cast and crew. All of this is separated into chapters that focus on particular theatres Eden has worked in, Mellisa Roskell beautifully illustrating some of London's most iconic facades as chapter markers alongside small insights into these buildings' rich histories.

Where this book shines is in Eden’s clear respect for and knowledge of stagecraft. As he recalls an era of frequent flippant backstage chaos that no longer seems to exist in an era of theatre industry proper, he demonstrably proves his technical knowledge as he describes how certain moments on stage are crafted backstage, truly drawing to light the mammoth task that is bringing a show to life. Not all of these moments go smoothly, and Eden is wittily self-critical of some of his own mistakes when he is constantly thrown into roles that he is ultimately not trained for. Similarly, Eden takes on the voice of a casual critic as he recalls the performances, good and bad, that he experienced in the wings. These passages are brilliant for theatre fans as they provide a unique and interesting insight into life beyond the stage. At some points, however, and particularly as the book closes, it feels as though Phillips is uncomfortable with his offstage position and is retrospectively envious of the stars he’s witnessed shine.

Similarly, Phillips’ wit shines as he encounters difficult and aloof performers that he must work alongside and his critical accounts of the shows, seen from the wings, are unique as he is both critical of the art he is seeing produced but knowledgeable of the hard work going into the show. This provides some hilarity as he and his coworkers conspire to sabotage certain performers who treat the crew as lesser, ala Phantom of the Opera. Whilst these never come to fruition, it is fun to imagine the possibilities.

Yet, whilst the book's format is well structured and these moments of theatre craft are brilliant, Phillips’ narrative voice is unfortunately lacking in direction. Just as he draws us into the rough and tumble of backstage handiwork, he will almost immediately break away into negligible anecdotes about staying at hotels or drinking at a bar. Repeatedly and insistently, he tells us that the stage crew's favourite pastime is going out for a tipple, but this doesn’t quite live up to the promise of the book, which describes itself as revealing the secrets of theatre. Whilst there is a distinctive charm and wit to Eden’s voice, this memoir ultimately lacks a distinct perspective on the industry and reads more like boasting. At times, his name-dropping exceeds excitement and becomes overly meticulous, so much so that it feels like simple filler rather than insight. Whilst some of these names and stories are exciting, particularly as Phillip’s accounts meeting Sir Andrew Lloyd Webber and Cameron Mackintosh, these moments of intrigue are blindsided by menial recallings of networking lunches that proved uneventful.

Similarly, his comments on the industry feel somewhat outdated as he yearns for the days of his youth when theatre-making wasn’t so much of a formal institution. For example, early on, he describes cast members casually sexually assaulting members of the crew and questions whether ‘a bit of hanky-panky is better than being ignored’. These moments feel uncomfortable and, unfortunately, dampen the congenial spirit that otherwise exists in the text. This is not the only example of such comments, but as they progressively occur, it becomes apparent that Phillips hasn’t quite caught up with the times. As a younger reader, this perspective on exploitation doesn’t make for a pleasant read.

Whilst there are some truly brilliant exploits described in this book, unfortunately, it lacks a perspective on theatre-making and devolves so far from its promise that at times I questioned whether there was a point to Phillips’ choice of story. A lack of a considered through-line ultimately leaves some of this book feeling meandering and unnecessary. Bereft of any cultural or social critique, it ultimately feels empty, a great shame considering some of the brilliance that peeks its way through the lines.

Backstage Confidential is available here: https://www.edenphillipslyricist.com