Before the Night is Through continues at the Landor Theatre, London. Picture: Charlotte Hopkins
Before the Night is Through continues at the Landor Theatre, London until 23 February.
Developing a new musical is a tough and risky business, so there’s an awful lot to be said for the individuals brave enough to do so – revealing the fruits of their labour to an unsuspecting audience of sharks. Making space for the brave and the abundance of undiscovered talent, Aria Entertainment’s From Page to Stage season (running until 9 March) showcases new musical theatre writing. Producer Katy Lipson warrants praise for providing this rare opportunity and a forum for professional exploration and development.
Lyricist and librettist Olivia Thompson and composer Chris Whitehead’s chaotic romp Before The Night is Through adopts a classic murder mystery format. An array of haughty movie stars assemble at the isolated home of studio sweetheart, Honey Quenelle. Our suspects are neatly laid out; every inch the diva princess, Honey has successfully given each of her guests a reason to want her dead. By stalling the completion of a film, she is costing the studio a fortune and testing everyone else’s patience. Honey’s caddish, lavish, irresponsible brother takes advantage of her wealth and affections, openly threatening to take her life when refused money for an apartment in Piccadilly.
The familiar set-up and stock characters lure the audience into a false sense of security for the duration of the steady and somewhat unremarkable Act I. The catchy tunes (in keeping with the period and rather reminiscent of Irving Berlin) are enjoyable, but don’t initially add a great deal. There is a quaint number about birthday presents and another about a party game, but the long scenes dominate. However, toying with conventionality, this musical proceeds in a less predictable fashion, descending into what can only be described as an exuberant, chaotic and fabulous farce. Before the Night is Through comes into its own after the interval, when the plot unravels and each character is brought to the brink.
The full company is worthy of mention, each fuelling the daft plot with energy and enthusiasm. Amelia Adams Pearce plays Honey Quenelle and seduces us with her voice – particularly beautiful in her soprano lullaby, ‘Little Mabel’. Tom Sankey perfectly embodies the role of troubled, tyrannical younger sibling, Hugo and Kieran Brown leaves his mark, springing to the forefront for a brilliantly executed and eagerly anticipated 11 o’clock number.
Jenny Gayner is engaging and delightful as the frail and delicate Farmonica. Gayner’s patience pays off when she later has the opportunity to reveal that there is a lot more to her character than meets the eye. Katie Brennan, as west country housemaid Mabel Gumm, is outstanding. Combining excellent comic timing, consistent energy and clarity from the outset, Brennan’s pint-sized Mabel is both completely loveable AND completely ridiculous.
The only criticism of Before the Night is Through, besides a slow start, is that it feels like a play with music, rather than a musical. The show has everything: jealously, romance, twists and even an Electra complex but, particularly during Act I, the songs do not aid in the progression of the plot. Act II contains two brilliant and memorable numbers – ‘A Very Touching Story’ and ‘Sorry’ – but more use could have been made of the features that characterise musical theatre as a form: songs, reprises, underscoring, incidental music, etc. Additionally, the show would benefit from a drastic cut to aid and maintain its comic momentum.
Structural quibbles aside, the fusion of strong comic writing, Robert McWhir’s bold direction and an extremely able cast is successful. When tragedy strikes, the claustrophobic containment of this bizarre bunch in a pitch black room builds to an inevitable and unmissable outburst, as well as a few, nobly handled onstage mishaps (planned or otherwise) that had the sharks, sorry audience, eating out of the palm of their hands.
Emily Hardy
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From Page to Stage season – West End performers onboard – News
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From Page to Stage’s Katy Lipson flies the flag for new musical theatre – Opinion
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