Bel Ami – The Musical – Charing Cross Theatre

Bel Ami – The Musical continues at the Charing Cross Theatre, London until 1 March.

Guy de Maupassant’s uncannily prescient novel Bel Ami receives 21st century spin-doctoring courtesy of Alex Loveless’ vibrant, electro-pop musical adaptation, which enjoys its London premiere at the Charing Cross Theatre, performed by final-year students of the London College of Music’s BA Musical Theatre course.

Maintaining their commitment to new writing, the London College of Music and alumni Loveless have updated de Maupassant’s classic novel about a disaffected NCO who inveigles his way into high society using his influence as a newspaper gossip columnist.

In the adaptation, the story is time-shifted from Paris of the Third Republic to the London of a not too distant future, with an American invasion of Iran imminent. Instead of the anti-hero Georges Duroy sleeping his way up the social ladder, we are presented with George Dury, a manipulative young Afghanistan veteran who seduces, blackmails and phone-taps his way into the London power base… and sleeps his way up the social ladder.

Rarely off the stage is the excellent Johnny Fitzharris, who almost single-handedly carries the entire show as the increasingly repugnant yet strangely likeable Dury. Perhaps not as handsome or as dashing as you would imagine a Georges Duroy to be (especially given how prolific he is with the ladies), Fitzharris nevertheless has the devilish charisma and stage presence – and importantly the voice and acting chops – to pull it off, and his performance is spellbinding. On a few occasions, he seems a bit uncomfortable in the lower register, but his voice is otherwise impressive.

Particularly strong in the supporting roles are the women unfortunate enough to become entangled in Dury’s life: Abigail Poulton as Madeleine, Shelbie Stuart as Clarice, Tessa Leake as Victoria, and Kathryn Kitchener as Suzanne. Of course, they’re all grotesque characters yet, as with Dury, they’re played with enough sass and vinegar that you’re compelled to find out what happens to them, even if you don’t sympathise with them – a bit like watching Rebekah Brooks being dragged over hot coals.

Less consistent is Loveless’ edgy, pumping music, although when it hits the mark, it definitely delivers. The most effective numbers are those involving the whole company – the LCM ensemble is disciplined and taut, and time has clearly been invested in the chorus work.

At their best, the musical numbers are biting, satirical commentaries on modern life – rarely do the words ‘Sunni’, ‘Shia’ and ‘Al Qaeda’ make it into musical theatre – and the most ambitious numbers manage to concentrate and develop the plot, turning songs into entire mini-scenes. ‘Love/Hate’, for example, probably my favourite segment of the night, segues neatly from the death and funeral of Dury’s boss Forester to a wedding between Dury and Forester’s widow, riffing on the theme of a ‘Dies Irae’.

‘No Going Back’, a quintet for female voices, is also nicely realised, as is the hilarious ‘Too Much Money’, which gives Brett Jay-Davis a delightful spell in the spotlight. The lyrics – at times sadly lost to imbalances of sound – are witty and contemporary (“trial by media… trial by Wikipedia…”), and the book is peppered with delicious Dorothy Parker-esque bon mots.

Alongside director Chris Loveless, Anthony Whiteman keeps the action ticking along with his vogue-ing choreography – the ‘Phone Tap’ dance routine is inspired! – and MD George Carter’s five-piece band, augmented with Andy Smith’s programmed synth backing, deliver a real punch. (And kudos to all concerned when a brief technical hitch killed the PA system and left the actors and band carrying on unamplified.)

Expecting a strained, student interpretation of a 19th century novel, I was surprised by an edgy night of new music that, in my notes, I judged as lying somewhere between Chess, American Psycho and Evita. Not quite on a par with these shows musically, but a thrilling, bold and wickedly amoral night out that showcases some of the next wave of musical theatre talent.

Craig Glenday