The Clockmaker’s Daughter was preformed by students from the Trinity Laban Conservatoire of Music at the Laban Theatre, London.
Star rating: four stars ★ ★ ★ ★ ✩
It was hugely exciting to get another opportunity to see this most impressive new musical once more after being spellbound by Robert McWhir’s profoundly beautiful production at Clapham’s Landor Theatre in 2015.
That production of The Clockmaker’s Daughter sold out and was nominated for 11 awards. It has also recently finished another sell-out run at the Minack Theatre in Cornwall. So, no pressure on Trinity Laban then… I am delighted to say that by and large they mostly rose to the occasion.
It is almost impossible to comprehend that this is just the first full-length original musical written by Michael Webborn and Daniel Finn. The intricacy of the breathtaking, magnificent score, married so perfectly with exquisite lyrics and a glorious witty book, has such maturity and assuredness about it.
There was some outstanding singing and acting going on at the Laban Theatre. The production certainly sounded wonderful and the small band, headed by superb pianist and MD Tony Castro, sounded as accomplished as it did at the Landor and at recent Webborn and Finn concerts.
The musical begins in modern day Spindlewood town square, where every year on the last night of winter, as the first day of spring unfolds, the townsfolk gather around a motionless statue of a young woman on a raised plinth.
Here Constance has stood, suspended in time for as long as anyone can remember. And every year the tradition of ‘The Turning of the Key’ is re-enacted, and every year, attempts to turn Constance’s clock mechanism back on again, fail.
The townsfolk depart the square, musing over whether she ever really ‘worked’ at all. We are then transported back a few decades to discover Constance’s father/creator – grief-stricken clockmaker Abraham Reed – tormented by the loss of his beloved wife, striving to create something that can replace her.
Through a combination of genius, obsessive work, madness and unknown magic, he creates far more than a glorified clock machine. His initial joy in creating a new companion is soon overtaken by fear of losing again, and in misplaced protectionism, his refusal to allow his incredible creation to develop without him has disastrous consequences for all.
The beautiful story is a heartbreaking magical tale of this young girl, Constance. Created differently from others, and slightly ‘odd’ on first meeting, he looks pretty much the same as other girls.
It takes a while for her to be accepted into the small tight-knit and suspicious community of Spindlewood, but after first causing a deeply upsetting problem, Constance rescues the situation and wins over hearts and minds to become warmly welcomed.
It is devastating though that later, when the reason for her true difference is fully revealed, only a few remember her best qualities.
Most simply revert to their original state of distrust and hate. There are certainly parallels with current goings on around the world – an allegory for many situations past and present.
Constance’s best friend, Amelia, stays loyal to her friend, admonishing the character of Will when he loses faith and starts to turn away from Constance, just when she most needs him.
“Can you tell me, how does your heart beat?” she admonishes him. “Your mother made you just as her father made her! What does it matter – clockwork or bones? Oil or blood?” Powerful words.
There were some standout performances and superb singing from this young student cast, notably Christy Bellis who truly delivered a fully rounded, intelligent and deeply affecting Constance.
Her beautiful rendition of ‘If You Could See My Heart’ was also tremendous vocally and soul-searing after her father berates her: “You are a marvel Constance, but they will never see beyond difference.”
Jack McNeill, as Will, was perfectly matched with great warmth, wit and heart. A great singer and dancer, he had great charisma and was eminently watchable onstage. Both Bellis and McNeill are surely names to watch out for.
Morgan-Lee Wilcox as Constance’s one true friend Amelia gave a lovely, fully believable performance throughout, also singing beautifully, and Juan Douglas – as the Major – made his supporting role stand out.
Leo Rowell used his magnificent voice to great effect, portraying the emotionally intense Clockmaker well, despite being at least 30 years too young for the part. That he was able to be so convincing bodes well for a long career.
Alexandra Davies as self-centred, work shy Ma Riley gave an assured and funny performance (and great singing) in a role where the audience have to hate her. There were no weak casting links at all – bravo!
The entire cast was animated and effervescent and sounded tremendous in ensemble numbers. Webborn and Finn write complex music but this company made fast and furious rhythms, melodies and lyrics sound easy. I also loved Jenny Arnold’s inspired and exhilarating choreography.
My only disappointment was that the magic of the town and story was not by the set and props. Granted this was a small-scale production, but if a tiny Fringe theatre such as The Landor can create supreme gorgeousness out of a minimal budget it should be possible for others to do so.
Costumes were beautiful which made the lack of a set and modern props all the more frustrating. However, there were moments of inspiration in Michael Howcroft’s direction (for example, creating a bridge and a brook out of benches), but I would have liked more imagination and colour in the set and staging.
However, a truly cohesive cast collectively did justice to this great new British musical.
It really is about time someone sorted out a West End run of this masterpiece. For Webborn and Finn’s The Clockmaker’s Daughter, the finest hour is still yet to come, but Trinity Laban did the writers very proud indeed.
Catherine Françoise
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