Another Way – Cockpit Theatre

(left to right) Aiden Crawford, Andy Coxon and Bart Edwards in Another Way at the Cockpit Theatre, London. Picture: Darren Bell

Another Way continues at the Cockpit Theatre, London until 5 October.

If you were lucky enough to catch Streets last year, either at the Cockpit or at its brief transfer to the Hackney Empire, then you will realise that Interval Productions is making some interesting moves in the musical theatre genre. Not without its flaws, Streets was a raw, energetic, gutsy musical that pushed a few boundaries and more than a few buttons with its appreciative audiences.

Another Way is the next piece from the same team and although channelling very different emotional territory, the writers Sarah Henley, Tori Allen-Martin and composer Benedict rise to the challenge to create some innovative theatrical moments on stage. It is by no means perfect, suffering from a shamelessly sentimental ending and possessing a slightly shambolic narrative structure, but it is yet another indicator of the potential of Interval Productions and its style. Lacking the choreography so eloquent in Streets, director Bo Boland still manages to create an engaging piece of theatre and showcases the team with an authoritative hand.

Sentimentality aside, one of the biggest problems with this team appears to be the lack of a good lyricist. Benedict’s score, replete with echoing cadences and haunting rhythms is an absolute joy, challenging the talented cast and genuinely capturing the heart and soul of the story. There are a few gaping holes in the score, where song-points leap from Henley and Allen-Martin’s book, but this can be considered for the future. The lyrics however are a disappointment, riddled with clichés and repetition where the audience and cast deserve much better. Even so, Another Way is leaps and bounds ahead in terms of creativity and content so hopefully this criticism is seen as constructive.

The story centres on Toby and Sam, who have created a short film for YouTube, which goes viral. With this modest success, cracks begin to form in their bromance and this most quirky of odd-couples suffer from a crisis of direction. At home, Sam’s sister is trying to remain supportive to her boyfriend who is undergoing chemotherapy, while elsewhere Carrie and Oliver are tentatively starting a new romance. Henley and Allen-Martin’s book contains some wonderfully observational humour but handles the drama well, accompanied by some exquisite underscoring from Benedict and a talented young cast.

Aiden Crawford plays Sam with integrity and humour, but it is his relationship with the wonderful Bart Edwards as Toby that gives this story its centre and ultimately its heart. It is a peculiar relationship to say the least, but one that rings true throughout within the context of the narrative. Julie Atherton’s presence is always an absolute joy and as hardworking, street-smart Carrie she excels, particularly in her relationship with Andy Coxon as Oliver. Coxon’s shy, geeky journalist is a perfect match for Carrie and the two actors play off each other beautifully.

Matthew Collyer as Alex and Ria Cherrelle Horsford as Vivien have the difficult task of presenting the couple facing up to a cancer scare, which they manage with sympathy and clarity, although the book runs into difficulties with this storyline. Their happy ending is sweet, in a Richard Curtis way, but something is lost in the handling of their characters and it grates on the way the narrative has been constructed.

Another Way has a good deal of charm but shows an even greater deal of promise for the future of musical theatre in the UK. Hopefully Benedict and his team will go back to the drawing board with this one and come back with stronger focus, a sharper vision and better lyrics.

Paul Vale