Caroline Keating and Jonny Muir in Love Story at the Brockley Jack Studio Theatre, London. Picture: Tony Nandi
Love Story continues at the Brockley Jack Studio Theatre, London until 16 November.
Anyone who has read Erich Segal’s novel or seen the 1970 film will know what a tear-jerker Love Story is, but is it suited to a musical theatre setting?
Yes, there is plenty of music content (Jenny Cavilleri, the character at the centre of the play is a music student), but the tale is so romantic and schmaltzy that giving it the musical theatre treatment risks pushing it over into the sentimental abyss.
The way the main characters are introduced is expertly done, particularly pianist Caroline Keating stepping forward to reveal herself in the lead role of Jenny. The grand piano she is seated at is a highly innovative design by Darren Beaumont, which separates into smaller sections of set used throughout the rest of the performance. And Keating’s transformation from enthralling musician to convincing leading lady is highly impressive. Her American accent is excellent and the way she conveys Jenny’s confident and outspoken yet vulnerable character is gripping.
Jonny Muir’s rich jock Oliver Barrett IV, who falls in love with Jenny after a confrontational start, is a more difficult character to empathise with, but Muir does well to bring a little charm and sensitivity to the role. However, he’s perhaps not as large and powerful as the character’s description suggests – he simply doesn’t look or sound much like the rugged athlete. The actors playing the couple’s fathers seem like they would be better suited to each other’s parts – tall and angular John Sears is cast as Jenny’s jovial Italian father while big and bear-like Paul Tate plays the aloof Oliver Barrett III. They are very fine portrayals but visually they look more suited to the opposite roles.
The most striking thing about the musical numbers is how unmemorable they are (book and lyrics by Stephen Clark, music and additional lyrics by Howard Goodall). Many of the talented cast take turns at the piano and the quality of the singing is adequate, but all the action takes place within the spoken dialogue and the songs feel like a tuneful reiteration of what has just been said.
Having the ghost of Jenny’s dead mother (Laura Armstrong) loitering about onstage smiling serenely also feels unnecessary but, other than that, the sentimentality of the story is dealt with beautifully by the cast and director Joseph C Walsh. Keating plays it quite understated – the moment when she announces that it’s time for her to go into hospital (after refusing cancer treatment) is a real lump-in-the-throat affair.
Ultimately, this is a very polished performance of a romantic, tragic tale, in which the musical element is rather superfluous. The heart of this production from Language Laid Bare Productions is Keating’s powerful portrayal, which makes the biggest impact of all – terribly sad, disarmingly passionate and incredibly moving.
Catherine Usher
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