Review: Caroline: A New Musical (Queen’s Theatre Hornchurch)

Review by Molly Gulvin

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“A radio station for young people! Why do we need that?” writes Vikki Stone, much to the amusement of the audience of Caroline: A New Musical, who are there to discover the story of Radio Caroline, the ‘pirate radio’ that changed the future of broadcasting. Currently touring the UK, this new production tells the story of the station that docked offshore and aimed to revolutionise radio. This inaugural production from the East Anglian Touring Consortium, a new company that aims to promote theatre writing and performance in the East Anglia area, combines the true story of Radio Caroline, which has roots in Essex and East Anglia, with 1960s hits. The biggest question to ask for this production was: Will Caroline sink or swim?

The story of Radio Caroline is true and hardly believable: in an aim to have a wider variety of music played on radio broadcasts, Ronan O'Rahilly (renamed to Declan in this production), converted a Dutch passenger ferry to a radio ship, sending broadcasts that threatened the status quo of radio broadcasts. Thanks to the pressure placed by offshore radio stations like Radio Caroline, broadcasters were forced into providing a wider range of music, resulting in the creation of stations that are now among the largest in the UK, such as BBC Radio 1. Radio Caroline still plays today, although not from a ‘pirate ship’ - it is now a licensed UK broadcaster.

Caroline: A New Musical is a fictional story based on this real station, and Stone’s writing makes for a compelling narrative throughout. The story centres on young couple Caroline and Robbie, the latter of whom becomes one of the first Radio Caroline broadcasters. However, as the laws surrounding offshore broadcasting tighten, and the station faces hardship because of them, the musical focuses on something far superior: the fight against oppression and leadership that try to silence those who speak out. The book is light-hearted and comedic throughout and creates a show with a true sense of spirit at its core. Whilst the narrative takes a moment to accelerate at the start of the show, it remains exciting throughout and effectively pulls the audience through the musical as it progresses. The comedic moments are natural and well-written, never feeling forced or underwhelming, and the more serious moments are handled with the gravity necessary to drive the narrative, yet ensure that the production as a whole remains full of spirit. Perhaps the divide in acts could have been reconsidered, as the first act felt as though it had points that would’ve suited a break in events, but the narrative drives the musical so well that this falls to the wayside.

Under the direction of Douglas Rintoul and co-direction of Alex Thorpe, the entire production is sharp and witty. The vision of the production shines in every moment, from performances to design, and the heart of the musical beats throughout. It is clear that the musical has been directed from a place of passion and pride in the story’s Essex roots, which helps capture audiences from the very first note. Musical supervisor Paul Schofield has ensured that each number is slick, and the ease with which various cast members lead the ensemble is a triumphant success for the show. Despite being a jukebox musical, the songs feel well placed; they never feel unsuitable for the point of the show, and the arrangements are pleasing and well-suited to the 1960s setting.

The performers are each outstanding actor-musicians, creating an ensemble that performs the musical with stunning ease. Jake Halsey-Jones and Claire Lee Shenfield make a wonderful pair as Robbie and Caroline, and have shining moments both individually and as a pair. Other performers also have exceptional moments within the show, particularly Joey Hickman, who provides a nuanced yet funny performance as Declan. A particularly hilarious performance was provided by Jerome Lincoln, who played Nigel the Private Secretary: the entire house was left laughing with his every appearance. Despite the demanding score both vocally and instrumentally, the entire company performs with spirit and passion to create a sound that seems to raise the roof of the auditorium.  

Creatively, this production captures the spirit of 1960s Essex brilliantly, particularly in Stella Backman’s set design - each piece felt carefully considered, and the overall atmosphere created helped to sell the entire musical. Callum Macdonald furthers the setting with sleek lighting designs, and whilst the costumes (also designed by Backman) are less frequently changed during the show, the ones that do appear add a sense of authenticity. Sundeep Saini excels in choreographing this show, handling the complexity of live instrumental performances well while still incorporating familiar 1960s moves. Whilst the sound design by Helen Atkinson does a great job at selling the settings, particularly during scenes that are set at sea, the execution left something to be desired, as at times the vocal performances were entirely drowned out by the backing instrumental. Luckily, due to the jukebox nature of the score, this didn’t cause major problems in the comprehension of the show, but it did mean that certain vocal performances were missed almost entirely by the audience.

Caroline: A New Musical is a production that is sure to leave you feeling lighter than when you entered. With its leading characters easy to root for, and its themes universally necessary, there is something to be found for everyone within the show and the incredible true story it explores is unbelievable and makes for a thrilling basis for a musical. This show proves that regional theatre is not to be missed, especially when it tells stories that hit this close to home.

Caroline: A New Musical plays at the Queen’s Theatre in Hornchurch until 16th May, before continuing to tour to Peterborough, Colchester and Bury St Edmunds. Tickets for all dates can be found at https://carolineanewmusical.com/.