British Youth Music Theatre – Theo In Between

Picture: Cian O’Riain

Theo In Between was reviewed at Carriageworks Theatre, Leeds.

Star rating: three stars ★ ★ ★ ✩ ✩

It’s the turn of the millennium, and in the quaint town of Dullsville, the local committee are preparing for what they hope will be their best Harvest Festival yet. For the first time, the town has decided to elect a Fall King to lead the parade, and Theo is the youngster who is chosen. But Theo isn’t quite sure who they are, and their idea of what it is to be a man doesn’t fit in with the way that they feel inside.

Theo feels that they fall somewhere in-between, although they are not quite sure where. Torn between the town’s expectations, peer pressure from their contemporaries and trying to please everyone, Theo embarks on a journey of self-discovery to find their absent father with the hope and expectation that he will help Theo find their place in the world.

This new musical is presented by the British Youth Music Theatre, and is one in which the cast performs with enthusiasm and aplomb. While there are large scale ensemble numbers which fill the stage with an abundance of energy, there are some individual performances which are noteworthy.

Eleni Chivers as Theo barely leaves the stage throughout the show and brings a gravitas to the role with a voice that certainly has its moments. There is a level of warmth and likeability injected into the character which easily allows the audience to instantly connect with Theo and to empathise with the inner turmoil that they are wrestling with.

Harry Newby and Millie Flannery both put in strong performances as Theo’s friends and facilitators and they bounce nicely off each other and with the other main cast members. Graysen Oakes gives a surprisingly tender performance as Theo’s mum, with a strong singing voice, a beautiful ability to portray and convey emotion in the musical numbers and a commitment to the role. It is easy to envisage a future in musical theatre for this young actor.

The book, written by Gareth Mattey, is rather charming and while it is dotted with humour, it has a surprising amount of warmth and heart to it, especially in the final scenes which pack quite an unexpected emotional punch. There is an underlying theme of self-acceptance, community and family resonating throughout the story, coupled with a social commentary on what is essentially toxic masculinity and the implied obligations people feel to conform to societal expectations.

It may be easy to compare Theo In Between to Everybody’s Talking About Jamie, but these comparisons wouldn’t be quite right. Both characters do struggle with their relationships with their father, yet Theo is exploring their gender identity rather than their sexuality, and Jamie’s story begins at the point where Theo’s ends, namely by the central character knowing, and being comfortable with, who they are.

But the main strength in the show is Jordan Li-Smith’s songbook which nestles itself somewhere in between millennial pop and stalwart musical theatre tropes, and there is a slew of ensemble numbers which are uplifting and suitably busy. The production bursts into life with the scene setting opening number ‘Never a Dull Day’ which pops with energy; the patter song ‘What Do You Know?’ is lively and full of bounce; the poignant and heartfelt ‘Earth to Theo’ beautifully captures Theo’s mother’s desperation to connect with her child; and ‘What Do I Call You Now?’ wonderfully rounds off Theo’s journey into self-discovery and their mother’s support of their identity.

The songs are toe tappingly catchy and, even on a first listen, have a feeling of instant familiarity as they progress the narrative and propel the story forward. Dean Johnson’s direction keeps matters lively, ensuring that the stage is brimming with movement and creates a visual palette which means that there is always plenty to look at.

With the writers citing numerous influences ranging from Benjamin Britten to 90s and 00’s pop hits, there are plenty of ideas thrown onto the stage. It’s therefore somewhat ironic that where the show does start to lose its way slightly is as it follows the Yellow Brick Road, paying homage to The Wizard of Oz, as Theo follows the path to self-realisation.

And whilst it is clear to see the importance of that film to the LGBTQ+ community and how the physical journey of the character is a metaphor for their journey into themselves, it is where the narrative became slightly muddled and the show loses a little bit of the momentum that it has built.

That said, that is a minor quibble in what is otherwise a well-produced and enjoyable production which many people will connect with, especially those who haven’t quite figured out where they fit, both in life and in themselves.

Rob Bartley