Once the Musical secret gig showcases new cast

Arthur Darvill joins Zrinka Cvitešić in the cast of Once the Musical at the Phoenix Theatre. Picture: Dan Wooller

Musical Theatre Review’s Emily Hardy sees the new London cast of Once the Musical in action at a special secret performance at the Phoenix Theatre and suggests that one year after opening, the show is looking better than ever.

There was never any guarantee that Once the Musical would make it as far as this. The sceptics amongst us rightly questioned the adaptation’s cult-indie following, concerned about whether or not the sad, anti-climactic story about impoverished musicians in Dublin was going to appeal to London audiences.

But what happened next was remarkable, because when Once opened a year ago, to a warm if not ecstatic media response, it gradually attracted more and more attention and ultimately brought a new audience to musical theatre, while mutually impressing London’s loyal and discerning theatre fans. For once, there was something beautiful and delicate and smart in the West End, and I could only pray that audiences would appreciate it, that it wouldn’t be overlooked in favour of the louder, glitzier, formulaic musicals that glared all too brightly everywhere else.

Thankfully, my worries were allayed; the show has gathered momentum. You can’t argue with the material, Enda Walsh’s heart-breaking elliptical book and the talent. It has prevailed fundamentally because it’s good. So it was a pleasure today, a whole year later, to welcome the show’s brand new cast at a special secret gig.

The sound technicians commented that it had been a far from run-of-the-mill recast, saying that the new performers had brought an entirely fresh energy to the show. Once the Musical is delicate; it inevitably changes each night because it relies so heavily upon stillness, silence, the audience and the actor-musicians working and moving as one.

As Zrinka Cvitešić, who has played Girl since the show opened in London, mentioned in the Q&A afterwards, there is no room for a drop of focus. Working to stay together musically is the key to keeping the show fresh and present. It’s not many musicals that can boast such organic and continuous freshness.

And it really did feel different at a closed performance of four songs (music and lyrics by Glen Hansard and Markéta Irglová) at the Phoenix Theatre. We were instantly reassured that, having already played Guy on Broadway, London’s Once is in safe hands with Arthur Darvill (of Doctor Who fame) at the forefront. The first song, ‘When Your Mind’s Made Up’, was sung effortlessly. Bringing his own identity to the number, of course, Darvill drew us in with passionate playing and a gloriously free vocal performance. He has evidently gleaned some of that Broadway polish but hasn’t lost any of the character’s essential rawness and edge.

So passionately played was the second number, ‘Say It to Me Now’, that Darvill broke a guitar string. During this, Stephen Hoggett’s fluid choreography enabled the new ensemble to reveal a little of their own characterisation.

Loren O’Dair, for example, has adopted a more serious approach to her character, Reza. I look forward to seeing and hearing more of this. The penultimate song, ‘If You Want Me’, reminded us of Cvitešić’s truthful and beautiful performance as Girl. If it has been difficult for her to bid farewell to the previous cast, she didn’t let it show; the chemistry between the new females is firmly in place.

Lastly, the small audience heard the show’s central number, ‘Falling Slowly’, during which a palpable sense of achievement emanated from the stage. The cast are at the end of what can’t have been a simple rehearsal process and so the sound they are creating now must come with a great deal of satisfaction.

It has been said before but never has it been truer: “Seeing it Once is not enough.”

With six Olivier nominations and what looks to be a brilliant new cast, now is the time to see it — and if you’ve seen it before, see it again.

Check out Emily’s video clips from the secret gig on Musical Theatre Review’s YouTube channel.

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