Mythic – Charing Cross Theatre

Genevieve McCarthy, Michael Mather and cast in Mythic at the Charing Cross Theatre, London. Picture: Marc Brenner

Mythic continues at the Charing Cross Theatre, London until 24 November 2018.

Star rating: five stars ★ ★ ★ ★ ★

Mythic is a high voltage adaptation of the myth of Persephone and Hades. Lee Newby’s costume designs are eye-catching, a meld of glam punk and goth. The men’s half kilts, in particular, conjuring up ancient Greece with a twist. The detail is considerable. The band members play as if their lives depend on it under the baton of Chris Ma. Oran Eldor’s score is tuneful and with a second or third hearing, many of the songs will become memorable. It’s pop/rock, middle of the road, but enormously enjoyable.

Then there’s the book (Marcus Stevens, book and lyrics). It comes over as comic book tosh, rather like Bat Out of Hell, but does it really matter? Not a jot. The clichés, the inanity of it, are all part of the fun. We’re not here to be serious, it’s like a pop concert with a storyline, a theme one could imagine Lady Gaga concocting if it weren’t based on myth. Hearing the score for the very first time, I asterisked several songs. ‘Sweet Summer Days’, ‘Dark Damaged Soul’, ‘What Mothers Have to Do’, ‘Look to the Sky’ and ‘Beauty in the Darkness’.

The cast plays it to the hilt, especially the camp male chorus and the over the top chorines, all performing at a furious pace.

Tim Oxbrow is a sexy funny American Zeus, but his voice never soars. Michael Mather is almost too likeable as Hades, he never really comes over as a bad boy, but makes a huge impression with his singing in his professional debut.

Georgie Westall as Persephone also impresses, we shall certainly be seeing more of her in the future. Her singing is a highlight. Genevieve McCarthy is funny and appropriate as an Australian Aphrodite.

Among the smaller parts from the ensemble, Leo Sene shines as the Judge of the Dead. His brief solo line gives us a thrilling voice,  you so want to hear more of it. Jamie Ross creates a charming cameo of a gardener.

And then there is Daniella Bowen as Demeter. From her very first entrance, she commands the stage, making every phrase of dialogue meaningful. And when she sings, her beautiful voice is so warm and compelling. It’s understated but truthful. It’s not starry, but a star performance. It’s the elegant heart of the show.

Direction by Sarah O’Gleby keeps the pace frantic. The choreography is formulaic and camp but in keeping with the tone of the piece.

Don’t expect some ardent modern retelling of the myth. It’s a romp, almost Carry On at times. And better for it.

Leon Ferguson