A scene from Days of Hope at Ye Olde Rose & Crown Theatre Pub, London
Days of Hope continues at Ye Olde Rose & Crown Theatre Pub, London until 18 October.
The Spanish Civil War doesn’t leap out at you as the natural subject for a musical but Howard Goodall has never been a coward. His career shows a composer who is directed by personal artistic interest rather than purely commercial concerns – Silas Marner anyone? But the key to drama tackling politics is to focus on the family, individuals and their interactions and to avoid the simplicity of propaganda.
Days of Hope is set in the final hours of the Spanish Civil War in 1939. The story is of a family celebrating the wedding of their daughter Sofia to an English Republican volunteer Stanley. Sofia’s father Carlos has been a volunteer too (where he met Stanley) and during the wedding meal, various visitors arrive adding different opinions about the war. The night ends with some of the family fleeing to England and others staying to face their fate.
It is an early musical for Goodall and as such although with tuneful songs and great energy, does have problems with clunky over-exposition and a sixth form debate style of politics. Also, the reasoning behind some narrative sections is needed as they seem to go beyond accepted conventions. (For example a song on Lorca is beautiful and naturally many will understand Lorca’s fate under Franco, but it seems a bit odd just to throw it in Act II without connection to what is essentially a domestic tragedy.)
Christopher Dingli (Carlos) is reminiscent of Michael Sheen in his acting style, characterful and subtle enough to keep the charm from tipping over into maudlin. A powerful and energetic performance from a star of the future. Sadly, he is also a stark comparison to some of the rather under-powered acting which revolves around his part. Rupert Baldwin (Stanley) the heroic English volunteer, who is Carlos’ son-in-law, finds it difficult to sustain a presence, although Jo Wickham (Maria, Carlos’ wife) does give a solid, charismatic performance as matriarch, while her daughter Annie Kirkman (Sofia) has a clear, bright tone to her voice.
Days of Hope is not sung through but has outbursts of song directed at the audience. The singing is variable with the best coming from ensemble pieces which hide individual weaknesses. Overall Lydia Marcazzo (Teresa), cousin to the family, has the best singing voice but her part does not allow for any subtle acting. Her singing with Annie Kirkman (Sofia) in the song ‘Lorca’ produces the sweetest harmonies.
The musical is set in-the-round – most of the play revolves around a dinner table and chairs – so the audience is given a lot more energy to what is a static scenario. This is a good directorial idea from Tim McArthur but as the characters start wandering around the set, and entering at four different entrances, it produces a false economy as the freneticism distracts from the narrative. And a small thing, this cast is mostly in its twenties and looks it, there is no make-up to give any indication of age difference of character, which can be unclear.
As ever the musicians, expertly directed by Aaron Clingham on piano, produce fantastic accompaniment to the cast. East London-based All Star Productions continue to offer high quality, exciting theatre on the fringe.
Kieran Falconer
www.roseandcrowntheatrepub.webeden.co.uk
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