Caroline Whittingham in the National Youth Music Theatre production of Prodigy at St James Theatre, London. Picture: Matt Hargraves
Prodigy continues at the St James Theatre, London until 15 August.
Star rating: four stars ★ ★ ★ ★
With the very physical motion of descent into the St James’ intimate and sheer curved arena, you may get the feeling you’re leaving your disbelief at sea level. The curved, violin-esque wooden set, with an inset piano and band at the rear, makes the notion of being on set at the show’s televised take on Young Musician of the Year a very credible one. The expectations are high for Prodigy, the first of the National Youth Music Theatre’s three-piece season: a piece of new writing from duo Jake Brunger and Pippa Cleary (of The Secret Diary of Adrian Mole fame, among a trove of collaborations). It delivers with a trill.
As is not unnatural for a show dealing with classical musicians (and pushy parents), there’s a lot of humour; and much of it is class-based, though mostly in careful taste – unless you’re from Made in Chelsea. Plenty of cultural references file obediently into one-liners which, thanks to Brunger’s knowing and measured wit, consistently hit the mark, making the script probably the strongest part of the evening. The parody (though more laid-bare, than caricature) of reality television – particularly the competitive and musical kinds – is unrelenting, sharp and well-deserved, with a frank look at modern television’s descent into little more than a visual tabloid. But there’s plenty of lighter jabs served at the popular classical music scene, which can itself be a trifle ridiculous in its coy pomposity.
Though you find it flowing through the script’s veins, the spirit of classical does little but run over the music’s skin, mostly in the form of orchestration and embellishment (though perhaps this is apropos for a musical specifically designed around the popularisation of classical music). Underneath, the piece is largely carried along by musical-theatre-cum-pop pieces – which nonetheless display some great work from the songwriting duo. Particular credit for this to Cleary who is billed as the show’s composer, as well as joint-lyricist with Brunger. Pace-wise I think the pair has done a great job in creating a layered piece that serves the story and the themes it awakens, with a lot of fun numbers breaking up the drama, as well as more integrated group segments carrying it along.
NYMT’s (by nature) youthful and enthusiastic cast brings the show to life. The five finalists in the show each performs their part with conviction and charm – particular praise for flautist Caroline Whittingham as Kate, and pianist Sephora Parish as Jessie, with brilliant playing but also wonderful voices.
Harry Al-Adwani as underdog love interest Luke and Jamie Dodd as antagonistic toff Rupert both give solid performances with particularly strong acting and musical skills on display, and Amelia Thompson as Claire delights with her frantic musical moments and endearing mix of panic and sunniness. Further comedic relief (alongside a little Machiavellian scheming) is brought by loveably trope-infested presenters (Callum Howells and Francesca McKean) and fame-hungry producer (Laura Barnard), as well as various family members; though they are just as able to inform the more poignant moments. The cast really is the cream of the nation’s young theatrical talent and the fact that they’re staging an actor-musician show is a greater achievement still.
The piece does a wonderful job evoking those memories and communicating those feelings, of the nerves, excitement and the pay-off of being a young person involved in a musical performance. Director Kate Golledge brings the complex plot together with finesse, and with choreographer Darragh O’Leary they utilise St James’ space; no mean feat with a 27-strong young cast with a decade’s spread of ages to command. The show really is a hearty, enjoyable affair for so many reasons.
Oliver Beatson
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