Review by Clancy Haynes
⭐️⭐️⭐️⭐️
On a Thursday evening, towards the end of the pandemic, my friend and I sat with our masks on, in a socially distanced audience, waiting to watch the opening night of my son’s high school musical showcase. It had become a tradition for us to go to his opening nights. We were there when he opened and closed the curtains as part of the stage crew for Oliver. We were there when he was prisoner/man stuck under cart/student in Les Misérables. We would be there when he took on his favourite role – Edna in Hairspray. We would also be there when he closed out his high school show career in Grease (Teen Angel) and High School Musical (Ryan). That night, however, we were there to watch him take on some songs from The Phantom of the Opera. As we waited for the show to begin, I turned to my friend and said, “I bloody love a musical showcase.”

And I do. I love sitting through a show with a storyline, characters and sets, but there’s something so comforting about settling down to watch (whether live or recorded) talented performers perform familiar songs from your favourite shows. Is this what West End Best Friend Production’s A Little Bawl of Pain: Musical Tearjerkers at The Old Joint Stock provides? Well, yes and no. When I went into the show, I, along with many of the audience, I think, had a preconceived list of songs I expected to hear, and I would have been happy with it. To open the show, talented performers James Edge, Federica Basile and Sinead Kenny performed a medley of songs from ultimate tearjerker: Les Misérables. So far, so good, so expected. The song choices highlighted their powerful voices, and I settled in for a cosy night of well-known tunes from big name musicals. It was not too long before I realised the audience were going to be a little more challenged and I was about to enter a Google/Wikipedia/Spotify rabbit hole of new songs from musicals I had either not heard of or were not really on my radar.
James Edge, founder of West End Best End Productions and manager of The Old Joint Stock, made an engaging host for the evening. He was funny, sweet, very self effacing, and made it clear early on that this was a show for musical theatre fans. The audience were introduced to an eclectic mix of some amazing songs from new (to me) shows, interesting choices from known musicals, as well as more familiar big hitters. This well put together programme of songs was a delight, and I was pleasantly surprised at the diverse range of songs included. A full night of tearjerkers could be a big ask for an audience, but while there were plenty of traditional sob inducing numbers, there were also songs that would bring tears of joy, triumph and hope. A perfect example of this was a spirited, uplifting performance of ‘When I Grow Up’ from Matilda by the three main performers, who looked like they were enjoying themselves immensely.

The calibre of the voices throughout the night was superb. In the small space of the theatre, staging was simple with just the piano and microphones on stage. This basic set ensured that performances hit hard, and each performer certainly had their chance to shine. Sinead Kenny sparkled (vocally and literally) in many of her numbers, with ‘Your Daddy’s Son’ from Ragtime and ‘As Long as He Needs Me’ from Oliver being stand outs. Federica Basile’s voice was world class, beautifully showcased in songs such as ‘You’ll Never Walk Alone’ from Carousel and ‘She Used to Be Mine’ from Waitress.
James Edge held his own and delivered most of the left field (for me) song choices of the evening, with touching versions of ‘Cecily Smith’ from Fly By Night and ‘I’ll Be Here’ from Ordinary Days. I had not heard of either of these shows personallu but have already done a deep dive and listen, which was as a direct result of Edge’s performances. His greatest moment, though, was an outstanding version of ‘Rose’s Turn’ from Gypsy. A brave choice but expertly done and gave me goosebumps.

As A Little Bawl of Pain tours, it will play host to a local performer from each city as a special guest. Birmingham’s was Dom Hartley-Harris, who performed a range of numbers in a voice that can only be described as beautifully buttery. His version of ‘Bui Doi’ from Miss Saigon raised the hairs on the back of the audience’s neck, as he was joined by Musical Director and piano accompanist, Callum Thompson as ‘the army’. A sweet version of Hamilton’s ‘Dear Theodosia’ with Edge charmed, and his final number of the evening, a reprise of his role in Rent with the beautiful ‘I’ll Cover You (Reprise)’, included all performers, and was incredibly moving.
Musical Theatre is a difficult mistress. She is ever expanding, and it is impossible to keep tabs on and listen to every new show that debuts. This is why musical showcases play an important part in introducing audiences to their favourite new shows. My son’s high school showcase introduced him to Dear Evan Hansen, now one of his favourites. Without a bold choice by a high school teacher, he may never have found it. We can all be guilty of staying comfortable in the old and familiar, but it is good to step out and find new things to love. A Little Bawl of Pain’s eclectic mix of songs was familiar, new and interesting all at once. With the show providing a sneak preview of the theatre’s upcoming performances of Ordinary Days and Bonnie and Clyde, it has guaranteed regular returns to the Old Joint Stock this year for me.

A Little Bawl of Pain is on at The Old Joint Stock until Sunday 19th January. Tickets from https://www.oldjointstock.co.uk/whats-on/a-little-bawl-of-pain
It then plays dates in London, Norfolk and Manchester until 25th January.
Photos by Perro Loco Productions