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The Swan Theatre
Yeovil
This production is one of the main reasons I do this ‘critic’ thing: Over the years I have been very privileged to be invited to watch many, many musical theatre shows. Some are good, some a little less so but once in a while a real gem emerges, shyly blinking from the glare of the footlights. I Love You, You’re Perfect, Now Change was one of those gems.
For reasons beyond my understanding I was asked to review I Love You, You’re Perfect, Now Change at the Swan Theatre with just two day’s notice. The David Beech Trophy Competition I usually work for requires at least six weeks notice to organise Adjudicators and Moderator to judge and report on a show but this show had started it’s performance run before inviting us so, unfortunately we were unable to provide the usual full adjudication. This review is, therefore separate from the competition.
With little time to prepare I arrived at the Swan with an open mind but a few reservations. Meeting talented Musical Director Matt Holmes in the foyer and seeing the confident glint in his eye, I should have ‘clicked’ that this might be a good show. I was still a little doubtful as I sat in the auditorium and read in the program that this would be the directorial debut for Sean Walsh. This did not fill me with confidence. Joe DiPietro and Jimmy Roberts’ I Love You, You’re Perfect, Now Change is four-hander: the performers would be very exposed especially with a new director, so they better be good. I read the cast list and relaxed. I am very familiar with the work of Jennifer Holland-Brewer, Cameron Isherwood and Elly Driver and know a little of Adam Burgan through my wife’s brief sojourn with The Octagon Choir. This looked like a capable bunch.
Then the show started. As a critic I take notes whilst watching: generally the left hand side of the page records a litany of those things that could be done better and the right hand side is reserved for a few praiseworthy moments. I had nothing on the left. For me, at least this was as close to a perfect piece of musical theatre as I have seen. I loved it.
Director Sean Walsh’s set design (I assume it was he, as no design credit is recorded in the program) was spot-on: Musical Director Matt was positioned at his keyboard on stage, stage-left at ninety degrees to the audience, Violinist Christine Bull hidden behind him in the wing. Matt’s flawless performance remained visible in low light throughout the show. As the piece is effectively a song-cycle of multiple vignettes many scene transitions are needed: generally a few, well chosen items of furniture or set dressing – just enough to suggest a location. These transitions were made in almost dead black-out. This can have a disruptive effect for an audience: the energy and flow can be lost during breaks caused by the dark moments. Having the MD playing, lit on stage during these periods caught the audience’s eye, maintained interest, energy and flow. Matt became the fifth cast member.
Each vignette was simply but perfectly conceived: a simple sofa dotted with toys became the home of a pair of exhausted young parents; a pair of theatre seats placed us clearly in a cinema; two chairs and a projected cross became a chapel of rest; four office chairs became a family car. The combination of clever setting along with convincing costume (often very quickly changed) and precisely chosen props established each new scene believably and almost instantly. The theatrical spell was never broken: we, the audience were there with the performers.
As a performer this show must have been a huge challenge: Each player delivering multiple characters in multiple locations with multiple relationships. I would normally single out ‘stand-out’ performances from a show but Jennifer, Cameron, Elly and Adam all stepped up to the mark with superb performances. Singing was of the highest order: harmony, expression, variety, clarity, precision and timing ticked every box. Acting performances too shone out. A few particular moments stick in my mind: Adam and Elly as the old, Jewish couple; Cameron and Jennifer as A Stud and a Babe; all four in And Now the Parents. There were many more. Comic timing was extraordinary – this is a very funny show, audience-connection was great and the interaction amongst the characters was entirely believable. Very impressive stuff indeed.
Sean’s direction was masterly. Small, directorial touches like Elly’s tiny head movement, acknowledging Adam’s presence as he sat beside her in the cinema to larger, more obvious moments like the office-chair car movements all worked brilliantly. Elly’s dating video featured a very long pause allowing the actress to change gear and pull the audience into the emotion – great acting but great direction too, I suspect. Attention to every directorial detail was clear – every gesture, every facial expression, every movement, every exit, every entrance was pin sharp. Pace was perfectly judged to suit each scene. There was no dip in quality throughout. Yet the performers all appeared to be loving every second!
Guess what? I was impressed! The show has been staged to support The Foyer Club charity, which raises money for the arts in South Somerset – even better! My congratulations go to everyone involved in this brilliant show – you should be very proud indeed. This show was right up my strasse and has left me uplifted and recharged with even more enthusiasm for the genre. I love you, you’re perfect now – stay the same!
There is one performance left (tonight) – If you live within a hundred miles of Yeovil, fight for a ticket and get down there.
Thanks for inviting me