Monstersongs was performed at The Other Palace, London.
Billing any show as an ‘immersive experience’ will either get potential audiences running for the hills or intrigued by the added promise that this interactive work in progress is ‘unlike anything you’ve experienced before’.
What was unique perhaps was the earnest, honest and interesting preamble from creator and lyricist Rob Rokicki, outlining the show’s roots, where he sees it going, it’s technically innovative content and also potential to be performed in various formats at different venues. There’s certainly no doubting his passion for the project, or that of the cast, which had had very limited time to learn the song list for this concert staging, so hats off to them for that.
In a sense, despite the techno-hype, it’s still very much a traditional fairy story with a wicked twist, all manner of eerie creatures being conjured up and given their cue to hit the stage by youngster (Bradley Riches) reading from a novel.
Developed together with David O’Neill, there’s also a graphic novel and projections of the artwork contained during the performance. Everyone loves a nasty, horrible monster, of course, and the rousing opening number ‘Monsterbaby’ promises an hour of spookily good entertainment. The live band is surely a vital element if this concert is to go on to any future success as a fully realised production.
Ditto Tyrone Huntley and Cleopatra Higgins, a pair of very assured vocalists who put heart and soul, and considerable sweat, into each song they perform.
‘Blood and Brains’ is a standout number, featuring teenage vampire (Sinéad Wall) and teenage zombie (Amanda Flynn), Riches and collective monsters, while ‘The Plans’ with the excellent George Damms as Igor brings some perfectly executed levity amid all the gruesome goings-on.
With every monster we know and love getting its time in the vocal limelight, ‘Footprints’ (music and lyrics by Rokicki and Joe Iconis) is a lovely atmospheric, melodious and mysterious tune about the Yeti, Huntley being joined centre stage by the show’s positively effervescent creator.
Like the publicity for a new Hammer Horror B-movie back in the day, for all its promises to be shockingly different the concert version still does feel formulaic and a little predictable. Going old school with the cast wearing a touch of scary make-up wouldn’t have gone amiss either given the time of year.
Forget Monsters of Rock, this is a rock musical with monsters, so ultimately what’s not to like? At times, it may have all the musical bite of a vampire wearing dentures but it’s still an entertaining 60 minutes.
Derek Smith
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