Review by Daz Gale
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This week in London you can watch a musical about writing a musical. If that sounds familiar, you may have seen Why Am I So Single? This year but before that show existed, there was [title of show] (no mistake – that actually is the title of the show). Life is imitating art for this story of a pair of writers creating something new and the journey that follows as it moves to a bigger house as it transfers from its short run at Phoenix Arts Club earlier this year to the larger space of Southwark Playhouse Borough. Having loved the show in its last iteration, would this bigger version prove to be even better?
[title of show] follows Jeff and Hunter as they attempt to write a new musical about writing a new musical titled… wait for it… [title of show]. Think the movie Inception but with characters bursting into song, which I think we all can agree would have made it a much better movie. Determined to create something new to bring to the New York Musical Theatre Festival, the show follows the growth as they move off-Broadway and eventually Broadway, with the ever updating story reflecting their real events.
It would be easy to describe [title of show] as a love letter to musical theatre, but it feels more fitting to describe it as an honest depiction of putting a show on and all the frustrations that come with it – so essentially a love-letter with frustrations and four-letter words thrown in to the mix (arguably the best kind of love letter). Its appeal is certainly in its raw honesty and refusal to follow a tried and tested format – instead relying on the volatility and random madness of the creation process and everything that follows. This approach is refreshing and easily endears it to its audience. Fans of musical theatre will love all of the nods and references to other shows from history, with the musical number ‘Monkeys And Playbills’ enough to make any theatre obsessive burst with excitement.
There is the risk of writing a musical about yourselves can come across as self-indulgent and perhaps too niche for a wider audience to follow. While it may still be niche, it avoids the self-indulgent aspect similar shows struggled to lose, with Jeff Bowen and Hunter Bell’s writing charming in its no-nonsense and no-holds-barred style. Whether it is charting their frustrations at the creative process, their excitement at the potential or the mundane of what they are watching on TV that evening, there is a joy and connection in its unassuming way. Though it can get weird at times, you buy into it thanks to the humour of it all. In reviews, the words “disjointed” and “uneven” are often used as negatives but in [title of show] they prove a fitting description with no negativity connected to it.
Taylor Jay’s production enjoyed a short run at Phoenix Arts Club in July and has now had a glow up, with Christopher D. Clegg’s direction furthering the simplicity yet effectiveness of the story. The key set piece of four chairs and nothing more has now been joined by a gorgeous backdrop from Hazel McIntosh, bringing a bit of glitz to the story, while Clegg finds new ways to tell the story to the surrounding audience in a production that has been elevated slightly from its initial run, while never losing any of its intimacy or charm.
The cast of four bring the material to life with a knowing wink to the audience and a sense of fun. The show’s writers and main stars Hunter and Jeff are played by Jacob Fowler and Thomas Oxley respectively, forming a formidable double act and bouncing off each other. While the start/stop nature of many of the songs doesn’t leave many chances to showcase vocals as much as you would like, Fowler’s God given talents shine through at every opportunities with his stunning vocals soaring at every possible opportunity… even if these opportunities are disappointingly few and far between. While the biggest vocals are reserved for their two co-stars, Fowler and Oxley make up for this with charismatic and comedic performances, always proving a dominant force in the story… as they should be, playing the creators after all.
The two remaining cast members, Heidi and Susan, are fabulously played by Abbie Budden and Mary Moore, both shining in their performances with big personalities and even bigger vocals. Mary Moore’s big musical standout is in the slightly odd ‘Die, Vampire, Die!’ leaning in to the absurdity and somehow making it feel even more accessible. Abbie Budden proves a highlight throughout with subtle movements and facial expressions showcasing the character’s conflicting feelings to the material. She gets more chances to showcase her impressive vocals than the other, with a standout rendition of ‘Part Of It All’.
[title of show] may always be a bit of a niche show, but it provides something different in its approach with the creation of a story (and indeed a show) you can’t help but buy into it. With its mix of authenticity and absurdity, it proves to be an always enjoyable watch and one that people will take different things from depending on their own experience of musical theatre and the industry itself. This bigger production hasn’t lost anything in its growth, remaining every bit as good as its run earlier this year. You may not be familiar with [title of show] but if you consider yourself a musical lover, I have no doubt that you are going to love it.
[title of show] plays at Southwark Playhouse Borough until 30th November. Tickets from www.southwarkplayhouse.co.uk
Photos by Danny Kaan