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Exit Stage Left
Rondo Theatre
Bath
Saturday 15th July 2017
The Benj Pasek and Justin Paul ‘musical’ Edges is a tricky proposition to review as part of a competition for Musicals. Musical Theatre it certainly is but is it a Musical as such? For me it was not a difficult issue to shove firmly behind me as I considered the ‘ingredients’ for the show: Pasek and Paul write good stuff – Dogfight (which I loved), the very recent Tony Best Musical winner Dear Evan Harris and even an Oscar for Best Original Song for La La Land (which I also loved). Plus the show was being staged by Exit Stage Left (who’s work I always really enjoy) with their well-deserved reputation for mastering the Off Broadway genre. I am very aware of the talent of three of the cast and it was being directed by one of the best directors in our area: Alison McCausland. So, what was not to like – musical or not musical?
The show is a song cycle with a loose theme of ‘Edges’ – featuring four cast members, two men and two women – the songs explore the ‘coming-of-age’ of various characters, questioning and exploring relationships, emotions and even Social Media. There is plenty of emotion, challenge and humour for the performers to get their teeth into and plenty of variety to keep the audience’s interest. Setting can be simple and gives the director scope to do pretty much as they like with the ‘look’. This is not an ‘easy sing’ so performers need great voices and the small band needs to be tight and well managed.
ESL under Alison’s expert guidance, ticked every box: The stage featured a simple sofa, stage right, an office chair stage left and a slightly raised walkway surrounding three sides of the chair on which two simple boxes were positioned. Lighting was plotted simply and was expertly delivered to gently enhance the production without ever overwhelming it. Andrew Whiting ran the lighting and sound with apparently ease. Sound was very well balanced and clear throughout too. The small band, led by excellent Musical Director Lauren Davies who played keyboard, supported by drummer Joe Webb and bassist Tyler Spicer were just what the doctor ordered: tight, tidy, smooth and supportive of the singers.
All that was left to add was the cast: The imaginatively named Man 1 played by Lucas Porter, Woman 1 played by Jane Morgan, Man 2 played by Grant McCotter and Woman 2 played by Leah Farmer. These folks can sing!
I had not seen Lucas previously but certainly hope to see him perform again soon: A lovely Musical Theatre voice with a great range and the ability to pull the audience in to his performance. He can move from the intensity of a heartfelt love-lost song to lighter numbers with apparent ease.
I have enjoyed the other three performers in many different roles and they never disappoint. I loved Jane’s Little Sally in Urinetown last year and occasional echoes of that performance could be seen in numbers like Caitlyn and Haley as she plays the frustrated younger sister in a song of sibling rivalry. She also moved into the more mature sphere for numbers like Better as she and her partner rate their success against their contemporaries. Jane has the ability to engender pity (Perfect) and great humour (Man of My Dreams).
Leah has impressed me in many roles: even in remarkable, silver spandex! It is not just her excellent singing voice but her audience-engaging facial expressions that mark her out. Leah gave the audience great variety: from the sisterly duet with Jane Caitlyn and Hayley to the very funny In Short to the strangely touching Coasting. She impressed again in Edges.
It is probably unfair for me to single anyone out in such a small cast but for me Grant McCotter stole the show. He sings simply and cleanly with precise musicality and a real engagement with his various roles. Touching, emotional numbers like Part of a Painting seem to be easy for him but he is a terrific, natural comic. Comic delivery without going over the top is all about timing and Grant’s is absolutely first rate. His audience connection is effortless and we warmed to him and laughed throughout.
Alison’s direction was understated but precise. I was particularly impressed by the opening number, which featured the entire cast in separate areas of the stage. Each cast member was utterly separated from the others by sheer performance quality; a wall was almost palpable, separating them. Movement was precise and natural throughout and the cast connected directly with the audience with a gentle precision. Alison simply knows her business.
I remain unsure that this show will be a contender within the competition but there is no denying its quality of performance. Is it pushing the boundaries of our favourite genre? Well, not for me; without denigrating the artistes involved, there was nothing very new or exiting, it was simply a highly competent exhibition of singing performance, neatly delivered. This having been said, I thoroughly enjoyed the evening and look forward with excitement to their next production.
Thanks for inviting me