The Little Big Things – @sohoplace

Ed Larkin and Jonny Amies in The Little Big Things @sohoplace, London. Picture: Pamela Raith Photography

The Little Big Things continues at @sohoplace, London until 25 November 2023.

Very few new British musicals make their debut in the West End. What, is The Little Big Things special or something? Spoiler alert: it is.

Based on Henry Fraser’s hugely successful memoir, The Little Big Things tells the true story of his extraordinary life, from his young days as a talented rugby player, through the tragic accident that left him paralysed from the neck down, culminating in his journey from a hospital bed to rediscovering purpose and the love of life through art and the people around him.

If it all sounds a bit heavy, don’t worry. Joe White’s book is genuinely hilarious and the score by Nick Butcher and Tom Ling is brimming with absolute pop bangers. This is an affecting and uplifting musical that will be enjoyed by everyone, a show which is unafraid to appeal widely, a show which pays tribute to the NHS and Popworld nightclubs in equal measure. A refreshing break from the pretentious and the cynical.

@sohoplace is London’s first new West End theatre in half a century. If you are yet to pay it a visit, make sure to pop in – even if just for a drink or to visit their restaurant – next time you’re near Tottenham Court Road Station. The theatre is brilliantly designed and modern, the building is new and gorgeous, and, crucially, this is a theatre that has been designed with a focus on accessibility. What better way to celebrate this than with the first West End musical with a leading role played by a full-time wheelchair-using artist? Beyond the character of Henry Fraser himself, there are a number of performers with disabilities in the cast, making some of the jokes about and damning indictments of our still very ableist society hit so much harder.

The role of Henry Fraser is cleverly split between two performers, to represent the person he was before and after his accident. Ed Larkin is simply phenomenal as the older Henry. He anchors the story in heavy emotional resonance while singing gorgeously and cracking jokes. He masterfully echoes ghosts of the joyous qualities of the younger Henry – an incredibly charismatic and beautifully-voiced Jonny Amies – as he comes to terms with his new life.

Linzi Hateley and Alasdair Harvey are human and heartbreaking in their very real portrayal of Henry’s parents, and the family is completed by the excellent Jordan Benjamin, Jamie Chatterton and Cleve September as Henry’s loveable brothers. The family bond is a pure joy to witness and all credit to these actors for bringing that love to life so effectively.

The brilliant performances don’t start and end with the Fraser family, however. Gracie McGonigal plays Henry’s classmate and romantic crush Katie perfectly, with exactly the right dose of awkward charm. Meanwhile Malinda Parris treats us to some of the finest vocals and most memorable visuals of the night in her sequences as the overworked Dr Graham.

A clear crowd favourite is Amy Trigg in her role as physiotherapist Agnes. In a show with a blockbuster score, gorgeous projections and a healthy confetti cannon budget, it is remarkable that she creates multiple show-stopping moments with just her comic performance and a little help from White’s witty book. Add in her excellent vocal and movement work (choreography by Mark Smith is stunning throughout, by the way), and there is no doubt that she is a star of the future.

Butcher’s pop music-influenced score is pitched perfectly to sell this universally affecting story of triumph of human spirit. This isn’t music on the vanguard of harmonic complexity, but this show isn’t about tickling the egos of Stravinsky nerds, it’s about bringing people together in a celebration of the human spirit. Many moments are so instantly anthemic that we fight the urge to sing along despite not knowing the words. This entire show is a testament to the awesome power of music to enhance an emotional connection with a story and unify an audience. Importantly, musical supervisor Matthew Brind’s pop-rock arrangements scream out loud but immaculate via Paul Gatehouse’s excellent, state-of-the-art sound design.

When a show contains so many imaginative elements all working together so seamlessly, it’s never a fluke. Director Luke Sheppard‘s (&Juliet, In Dreams) fingerprints are all over The Little Big Things’ colourful extravagance with a deeply human core. Beyond the stylistic elements – ably assisted by the geniuses that are lighting designer Howard Hudson, set designer Colin Richmond and video designer Luke Halls – the tone of the piece is pitched perfectly, not an easy task in such a funny show with such potentially sensitive subject matter.

Unafraid to appeal widely, uplifting and inspiring: The Little Big Things is an extraordinary piece that delivers exactly what the public demand of a West End show, and then a little extra that they may not expect. The in-the-round staging means an audience can see the joyous smiles and many many tears of elated fellows. Between the excitement of seeing a brilliant new piece of writing, the undeniable quality of the production, and the heavenly venue, there may be no better night out in the West End than The Little Big Things.

Ian Bowkett