Ronan Keating and Jill Winternitz in Once at the Phoenix Theatre, London. Picture: Brinkhoff Mögenburg
Once the Musical continues at the Phoenix Theatre, London until 21 March 2015, prior to a European tour.
If my experience of chatting to a handful of theatregoers during the last few days is anything to go by, Once the Musical is something of a Marmite affair. Either you fall in love with the show and want to see it again as soon as the final notes of the ‘Falling Slowly’ reprise are over (I confess to being a member of that contingent), or you struggle to engage with the stylised way in which the emotional tale is told.
Many of those in the first group are likely to have regularly seen the show since it first opened at the Phoenix in April 2013. Each Guy – Declan Bennett, Arthur Darvill, David Hunter – and each Girl – Zrinka Cvitešić and Jill Winternitz – have been scrutinised and seen to pass the test.
However, the hottest debate of late has been whether the casting of a multi-platinum recording star in the lead role of Guy would upset the delicate equilibrium of this much-loved production.
In other words, can Ronan Keating – so incredibly successful as part of Boyzone and as a solo artist – make a successful West End debut in a role which would challenge the most experienced performer.
Well, on the whole, the answer to that question is ‘yes, he can’. Purists, I am sure, will be quick to pick out certain things. The raw falsettos so familiar in solos like ‘Say It to Me Now’ and ‘Falling Slowly’ are missing, though on hearing the depth of tone in Keating’s vocals elsewhere during the evening, it would be a surprise to discover that these notes are beyond his range.
I would also imagine those who have seen the show before may be missing the raw passion of, say, Darvill, and might find Keating’s interpretation too passive to be believeable.
I don’t agree. There would be no point in Keating attempting to copy what has come before, this is his take on the role and he needs to make it his own. On the second press night, he was obviously still nervous in the early stages (playing arenas must seem a breeze by comparison), but as the artist got into his stride, it was impossible not to warm to his portrayal.
Yes, perhaps a little more energy and lightheartedness here and there might be welcome, but Keating is a Guy with a gentler soul, desperately lost without love in his life, and only able to communicate that through his music. That’s pretty powerful stuff. Already there are goosebump moments in ‘Gold’ and ‘When Your Minds Made Up’, and in time there are bound to be plenty more as he settles into the show.
What also will come, as he relaxes, is a natural bonhomie with this incredibly talented cast of sublime actor-musicians (Tim Prottey-Jones and Jez Unwin are still a joy individually and as they sow the seeds of friendship across the Dublin/Cork divide).
Most vital of all though is a Guy’s chemistry with his Girl and both Keating and Jill Winternitz ensure this is as true and honest as it should be. The latter brings a haunting intensity and yearning to her role and it is heartbreaking to witness the sacrifice she makes at the story’s conclusion.
Much has been written in the past about Glen Hansard and Markéta Irglová’s score, Enda Walsh’s book, the work of director John Tiffany, set designer Bob Crowley, and, on this occasion, I was reminded of how stunning Natasha Katz’s lighting is.
All of these ingredients and the contributions of those above make Once one of the best musical theatre experiences to have been created for a very long time. To be part of it is to be transported and Keating has convincingly taken his place on that special journey.
Lisa Martland
NB: Keating’s presence in Once will bring new blood to the Phoenix – fans of his – a percentage of which will very rarely visit the theatre. In essence, that can be a good thing, but their presence is more likely to disrupt the flow of the show than the pop star’s performance.
On the evening I was there, someone heckled from the audience, constant applause after every number threatened to stifle the dramatic flow (as did unexpected laughter and the reaction to Keating changing his trousers), and the person next to me kept constantly checking their text messages. The presence of a few ushers here and there and a reminder of theatre etiquette might not go amiss.
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