Review: NERO (Southwark Playhouse Elephant)
Review by Daz Gale
⭐️⭐️⭐️
A trip to Southwark Playhouse Elephant at the moment will see you greeted by a new musical focusing on a tyrannical dictator in the midst of destroying his country. No, it’s not a musical about recent world events, though you would be forgiven for mistaking it for that - rather, it’s a look back to the Roman Empire, specifically the Emperor Nero. Southwark Playhouse has been the home for several high-profile new musicals that have gone on to bigger things in recent years, with Operation Mincemeat still packing houses in the West End, The Curious Case of Benjamin Button wowing audiences in New York, following a West End run, and this year’s Redcliffe transferring to the West End in January. With that track record, they are becoming a reliable home to launch new musicals both in London and globally, so would this first London outing for NERO - A New Musical ignite something that is about to explode, or is this one musical that would be better placed in exile?
While NERO may be new to many, it has actually been in development far longer than most would realise, with a 23-year journey to get it to the London stage. The musical reimagines one of history’s most notorious figures for a modern age, telling the story of how Nero became Roman Emperor and what it took for him to not only get there, but stay in power. Ego and excess are combined with betrayal, with the added theme of art and celebrity, bringing multiple levels to a story you may think you know or may certainly recognise elsewhere, but has never been told quite like this.
NERO reunites the award-winning creative team behind the contemporary classic, Spring Awakening, Steven Sater on the book and lyrics, and Duncan Sheik for the music. Sheik sadly passed away after the announcement of this musical’s London debut, never getting to see it on this stage in its latest incarnation, bringing an added sense of poignancy to the evening, heightened by Sater giving a short but powerful speech honouring his creative partner on this press night performance. Sheik’s genius can be felt throughout the music, with some numbers that play to his distinct style, evoking inevitable comparisons to that other musical of theirs, with ‘The Winter Wind’ in particular sounding like something you would easily hear in Spring Awakening (funnily enough given the name of another season in the title).
While NERO has been in development for a number of years with multiple London workshops over the last four years in particular, this is the first time a London audience gets to see the production. With that in mind, it feels very much like a work-in-progress, using the audience as a tool to gauge their reaction and make any necessary tweaks. With press night taking place less than a week after the first preview, this did leave them risking feeling slightly vulnerable and exposed. That said, the feedback and response is clearly being used and, from what I understand, the show has been slightly different at every performance thus far, resulting in what should hopefully be an ever-evolving and increasingly strong production. However, it still has quite some way to go, with quite a bit of work needing to be done.
The biggest challenge NERO has is finding the right tone. Is it a comedy or tragedy? At times, it feels more like Sondheim’s farce The Frogs, while others draw comparisons to Hadestown. Those are two drastically disparate shows, and the fact it can veer from one to the other is an issue that desperately needs resolving to create a more tonally cohesive show. At times, it feels as if the character of Nero is in a completely different show, which feels kind of the point. His excessive ego, juvenile behaviour and refusal to see the world burning around him makes the other characters playing their roles far more seriously an interesting juxtaposition and one that can be played up to. However, in its current form, this balance has not been addressed correctly, with an uneven tone that feels uncomfortable in places, veering too far in one direction only to do a complete 180 the next - the fact some of the more jokey lines fell flat, eliciting a much smaller response than anticipated was a clear example of the writers needing to set the tone.
The inconsistency is also felt in the standard of the material. There are some fantastic musical numbers, while others should have been cut in the workshop phase. The biggest example of this is the baffling and shockingly substandard ‘Quelle Surprise’, a number so jarring and poorly written, its reappearance as an unwelcome reprise later on came as a genuine surprise. An over-reliance on profanity in the writing lessens the impact more and more each time, while the heavier themes such as brutality never quite land as they should. I would also argue that while the theme of incest may need to be there in some shape or form, it is currently explicit in how prominent it is, and a bit of restraint wouldn’t go amiss.
A couple of duds aside, NERO has much going for it in the way of a strong score, but it is Steven Sater’s book that is in dire need of the most development, with the first step being to settle on its undecided tone. Currently, it is the equivalent of choosing between two different meals on a plane - while you may be tempted to say “Both” and feel it is a good idea if it does pay off, it will ultimately make you feel sick in the end.
Lindsay Posner’s direction struggles under this constant conflict of tone, never quite knowing how to bring the material to life in the desired way. This results in some exaggerated moments of high-camp, while others go even more extreme in ways of darkness. I believe there is a middle-ground to be found. I would also question whether Southwark Playhouse Elephant is the correct venue to stage this production. While I adore this venue massively, the layout does no favours for the show. Despite a couple of excellent design choices by Georgia Lowe on a sparse set, I could imagine NERO impacting better in a proscenium theatre, perhaps with a revolve.
Unfortunately, Posner does not play to the strengths of the space, particularly in his neglect for sightlines with an over-reliance on characters lying on the flat stage, with no consideration given that nobody will be able to see what is going on if they are further back than the front row. A minor quibble, perhaps, but one that really should have been considered before opening to an audience. James Cousins’ choreography offers moments of excitement, though feels underdeveloped at times, never quite slick or polished enough and again feeling at odds with the writing and direction.
Where some of the creative elements don't blend together as they should, one aspect of NERO that needs no improvement is that of its faultless cast, effortlessly elevating the material to make this a thoroughly enjoyable albeit inconsistent watch. Stephen Carlile is immensely watchable as Seneca, even when he is performing the aforementioned ‘Quelle Surprise’, somehow keeping a straight face throughout. There is an increased prominence in his character at the start of act two, with him acting as a narrator of sorts in another jarring creative choice given its appearance in the first act, though his presence actually makes this a fairly inspired choice and is perhaps a path that could be explored further.
Nabi Brown is sparingly used as Octavia, but showcases a beautiful singing voice with both a sweetness and softness to her character I would have liked to have seen more from. Rhianne-Louise McCaulsky is a huge standout as Poppea, delivering two of the musical highlights of the night, first with act one ballad ‘The Bosom Of The Moon’ and then a rousing number in act two that wouldn’t seem out of place in Six. Waylon Jacobs has a great dynamic with Poppea and Nero in his characterisation of Tigellinus, with Timo Tatzber a strong presence as Britannicus. Sally Dexter is absolutely scene-stealing in her portrayal of Nero’s mother Agrippina, finding the balance between an evil stepmother character you might see in something like Andrew Lloyd Webber’s Cinderella (that is meant as a compliment, I promise) and a panto with something a bit more genuinely sinister and even human and she too battles the conflicts of power, excess and family.
However, the undoubted standout in NERO is the man who has his name in the title. I’m not saying we need to erect a giant statue made out of gold in Andrew Barth Feldman’s honour, but I’m also not saying we shouldn’t be doing that. He has wowed audiences on stage on Broadway and been seen the world over on screen, and now he is making his London stage debut, giving British audiences a taste of his remarkable talent. As Nero himself, Andrew Barth Feldman gives a killer lead performance, delivering a wonderfully exaggerated portrayal that plays up the excessive, campy nature with moments of juvenile, immature behaviour battling with increased erratic and unhinged elements of his character, playing up to Nero’s tyrannical nature.
It is a complicated and certainly demanding performance, and one that Feldman excels at in a sensational portrayal. His ability for flawless comic timing and brilliantly over-the-top facial expressions makes the choice of Nero to be in his own show, oblivious as to what is going on around him all the more compelling, and certainly the biggest opportunity in the further development of the show. His singing voice must also be acknowledged, with some outstanding vocals displayed throughout, particularly on act two opener ‘Nero’s Mind’. While this might not be another Dear Evan Hansen for him, giving audiences a taste of his undeniable gifts as an actor and performer makes it clear to see what has made his star rise so quickly.
Championing new musicals and watching them develop is crucial for the future of theatre, and there is definitely no shortage of potential to be found in NERO. Its biggest obstacle is discovering its own identity, as right now it veers between two completely different tones that don’t complement each other at all, instead resulting in an uneven watch. Occasionally, I see a new musical and can tell they have gone up the wrong path and have no chance to salvage it at all. That is not the case with NERO at all, and the fact it is as enjoyable as it is despite its flaws is a testament to the bones and foundations that are in this production.
Is this the best version of itself? Almost certainly not. But can it get stronger with further development? Almost certainly. The musical currently has the spark it needs, but not the tools required to turn it into a flame. That said, I am confident we will see NERO again in the not-too-distant future and hopefully be blown away at how much it has exploded. It just needs a little bit more time and nurturing if it really wants to be the successor to the throne of the next big musical - after all, Rome wasn’t built in a day.
NERO plays at Southwark Playhouse Elephant until 5th December. Tickets from https://southwarkplayhouse.co.uk/productions/nero/
Photos by Manuel Harlan