Sometimes shows don’t cross the Atlantic successfully (either way) and I think this is one of them. It’s quintessentially American, with rather more schmaltz than most Brits can stomach. Though there’s much to like, it falls short of complete success, though it’s fair to say that the audience’s reaction on the night I went was much more positive than the critical reception, so perhaps its a populist rather than critical success. I think I’m more with the critics than the audience.
It’s based on Daniel Wallace’s 1998 novel, made into a film by Tim Burton in 2003 (somewhat ironically with Brits Albery Finney and Ewan McGregor as the leading man and his younger self). John August was responsible for the screenplay as he is here for the book, with music and lyrics by Andrew Lippa. It starts at Edward Bloom’s son’s wedding, during which he is taken ill. From his hospital bed, he tells tall tales which are re-enacted as song and dance fantasy sequences. These include a witch, a giant and a werewolf and times in a circus, at war and as a travelling salesman. His son has been hearing these all his life and doesn’t believe any of them, but one day he tracks down his dad’s old school friend Jenny and discovers a true tale he hadn’t been told, which enables them to repair their relationship before Edward dies.
Like Lippa’s The Wild Party at the same venue earlier in the year, the story is subservient to the ‘turns’, so there are some great comic song and dance routines but they don’t really add up to a satisfying musical theatre work. The songs are OK, the comedy broad but fun, but the story sentimental tosh which I found rather pointless, I’m afraid. The lead role isn’t very demanding, but Kelsey Grammer, the main draw here, is likeable and playful. The real work is left to the younger members of the cast, most notably Jamie Muscato as the young Edward and Matthew Seadon-Young as his son Will, amongst the best of the new generation of musical theatre performers and both on fine form. The comic honours belong to Forbes Masson in more than one role.
I liked the intimacy that The Other Palace facilitates, but it’s a big show for that space and it sometimes felt a touch cramped. Given the space, Liam Steel works wonders with the choreography, with a particularly fine sequence for Muscato involving hula hoops. Tom Rogers design, with projections by Duncan McLean, works well and Nigel Harman, relatively new to directing, marshals his resources well. In fact, all of the creative and performing contributions are excellent, it’s the material that lets them down, though I don’t regret going.
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