Tag Archives: new british musical

Musical Review: Apartment 40c (London Theatre Workshop, London)

Cosy. The cast of 'Apartment 40c'. Photograph: Courtesy of the production.

Cosy. The cast of ‘Apartment 40c’. Photograph: Courtesy of the production.

Rating: ****

In A Nutshell

Despite narrative faults, Apartment 40c is a surprising and engaging new musical, marking Tom Lees and Ray Rackham as a musicals writing duo to watch out for.


One apartment, three couples, six lives. Apartment 40c in New York has seen many occupants of the years. Some of them have loved, some of them have lost, and some of them have found each other. By blurring time and place, it would appear that despite the age and era of its occupants, they have more in common with each other than you’d think.

Nova Skipp (left) and Peter Gerald (right) as Kathryn and Edward. Photograph: Courtesy of the production.

Nova Skipp (left) and Peter Gerald (right) as Kathryn and Edward. Photograph: Courtesy of the production.


Librettist Ray Rackam’s almost sci-fi multiverse approach to three different couples is an interesting experience as the stories cross and interact indirectly in very interesting ways, creating a curious enigma about how, and even “if”, these sets of people are linked together. By doing this, Rackham frames the way for some astute exploration of the human condition in surprising ways. Even if you don’t quite connect with the characters on a personal level, or aren’t entirely convinced by their situations, there’s a very clear and intelligent empathy that chimes whenever they open up. It’s never over the top when this happens either. Everything is very honest and as is, meaning you as an audience member take away what you want from each emotional encounter, rather than being told what to feel. This casual and arms length approach continues even when looking at some of the more severe circumstances the characters are placed in, such as loosing a loved one. The result is a musical that is very personal to each audience member.

However, not everything in the actual narrative is as slick as it could be. Some of the couples and their situations aren’t really convincing. For example Eddie and Katie’s double-booked apartment is a bit far-fetched, but not as bewildering as the situation they end up in at the end of a single evening. Elsewhere, plot points and revelations feel contrived, adding to disbelief rather than the suspension of belief.

But it’s Rackham’s ability to make an audience feel and think that’s the main event, despite the sometimes ropey narratives. Plot faults are therefore small niggles rather than major issues. So what if the story is a little unconvincing? The point is how we emote rather than whether we believe.

Alex James Ellison (left) and Alex Crossley (right) as Eddie and Katie. Photograph: Courtesy of the production.

Alex James Ellison (left) and Alex Crossley (right) as Eddie and Katie. Photograph: Courtesy of the production.

Music & Lyrics

At first, Tom Lees music seems a bit too recognisable: something along the lines of the American rock music style than has been replicated (often poorly) ad naseum since Rent. However, though familiar, Lee’s music is far from derivative. In it are little shocks and indiscretions with regards to tone and rhythm, deviating away from the formula enough to prick your attention. Lees has found a way to really make the style his own, and by doing so keeps your attention. There are a couple of really haunting ballads that are incredibly beguiling. “Fairy Tales” was my personal highlight from the score: a mixture of childhood innocence and adult pathos with a sweeping melody, performer perfectly by Alex Crossley.

Rackham meets Lees’ musical idiosyncrasies by including unexpected internal rhymes and phrases. They don’t always work well with some feeling more clumsy than others, but they’re certainly interesting. Elsewhere, Rackham employs a more lyrical approach to exploring the themes and feelings that he’s already prying into, using alternative and more abstract imagery to achieve deeper understanding. This is where Rackham as a librettist really shines through, with an unmatched wit and imagination.

Lees arrangements for piano, violin, and cello also work really well. Despite the humility of the ensemble, Lees prises a rich and tender sound from the trio that undulates and colours each musical number. It’s a shame that we only hear Lees’ music and arrangements during the songs, and perhaps a bit of underscoring wouldn’t have gone amiss given just how enchanting it is.

Music and lyrics is certainly the strongest aspect of Lees and Rackham’s partnership. In fact, even if you go wanting to hate this, it’s simply not possible. Yes, you can pick at the smaller foibles, but the score has an absolute and inescapable charm. Maybe, with a different narrative and/or a dedicated book writer, Lees and Rackham can be the new British musicals writers that we’ve been waiting for.

Direction & Production

Jonti Angel and Evie Holdcroft’s set is incredibly striking, turning the upstairs theatre space of the Eel Brook Pub into a real doppelgänger for a New York apartment. It’s brimming with detail and minutia that really lifts the show.

Lees and Rackham,also directing, make good use of the generous space, often having all characters on set at all times, and sometimes choreograph their movements the intricately intersect each other, sometimes recognising but often ignoring their time-bound counterparts. It certainly adds even more enigma and questions to just how closely are these people interlinked. It’s a slickly executed show despite its fringe credentials.

Lizzie Wofford (left) and Drew Weston (right) sharing a tender moment as Kate and Ed. Photograph: Courtesy of the production.

Lizzie Wofford (left) and Drew Weston (right) sharing a tender moment as Kate and Ed. Photograph: Courtesy of the production.


Lees and Rackham have a solid cast on board, although some of the younger actors come across as a little inexperienced alongside more established talents. But overall, it’s very difficult to really pick out anyone particularly outstanding.

If any warrant a particular mention, it’s Lizzie Wofford as long-suffering and good wife, Kate. She has a lot of fun with her character in the little humours she puts up around her as things don’t quite go her way. Her on-stage chemistry with partner Drew Weston as Ed, is really natural and wonderfully sweet too, helped by the fact that he seems to really enjoy playing his role too. However, when push comes to shove, there is a real strength that she finds in her character’s vulnerability, powering on despite the difficult situation she ends up in without completely breaking down. She’s a powerful actress to watch perform in perhaps the strongest of the musical’s roles.


It’s not only impossible not find something to like, but something to love. Original and beguiling, this is a thoroughly enjoyable musical penned by a duo with astonishing promise.

Apartment 40c plays at the London Theatre Workshop, London, SW6 4SG, until 20 December 2014. Tickets are £15 (concessions available). To book, visit http://londontheatreworkshop.co.uk.

Musical Review: Tess of the d’Urbervilles (New Wimbledon Studio, London)

17304_fullRating: ***

In A Nutshell

A rich, dramatic, and inventive score, but a show that is far too long for its own good.


Based on Thomas Hardy’s romantic melodrama, we see farm-girl Tess’ life turned upside down when her family learn that they’re the surviving heirs to an ancient aristocratic lineage. But her attempts to re-affiliate their family to the bloodline only ends in heartbreak and violence, causing Tess’ world to crumble around her in tragedy most bleak.


Award winning musical playwright, Alex Loveless, makes an incredibly comprehensive attempt at adapting Hardy’s celebrated novel into a musical. Indeed, there is very little, if anything, that is missing from the book in the musical. But whilst this is an incredibly worthy effort to stay as true to the original novel as possible, it also is the show’s major downfall as Alex Loveless’ work is a stark reminder at how complex and lengthy the original novel is. Given the story’s heavy emphasis on melodrama and tragedy, at over 2.5 hours long (including interval) – with Act I an epic 80 minutes long – it’s very difficult to stay engaged, even with such a solid score behind the production.

Not helping is that important plot points feel a bit rattled through whilst minor aspects of the story are dwelt upon for longer than needed. For example, Tess’ first meeting with Angel, accompanied by a wonderfully lilting romantic song, ‘I Saw Your Face’, feels disappointingly truncated, whereas later on we get almost a full four minutes of the ensemble singing about milking cows. There are more than a handful of moments and musical numbers that could have easily have been axed to speed the show along and make it more digestable. But instead, the audience are left to become fatigued for want of trying to stay focused, being made to sit through a truly mammoth amount of material.

Music & Lyrics

Score and songs is certainly Alex Loveless’ strong point. Having already picked up several awards for his work, including the Howard Goodall Award for composition, it’s no surprise that his score here is as solid here as elsewhere. For starters, Alex Loveless is not afraid to experiment a little, giving Tess of the d’Urbervilles a unique and inventive sound that marks it out from other new musicals. Here, Alex Loveless really embraces not just a modern musical style, but also the sounds, harmonies, and rhythms of English folk and pastoral music. Behind these he also puts behind a lot of thought and emotion, resulting in such stirring numbers like ‘Children of the Earth’ and ‘Joyfully, We Praise’, to soaring and rich numbers like ‘I Hear Your Voice’.

But not everything Alex Loveless writes works though. There are several weaker numbers such as ‘Saturday Night’ that is just too unwieldy and messy to be entertaining, and ‘The Belly of the Beast’ that is just a bit too unorthodox making it stick out like a sore thumb as it doesn’t gel with the timbre of the rest of the score.

Lyrically, whilst Alex Loveless doesn’t emulate the arch-poetry of Hardy’s style, he does bring an own sense of wit and creativity to the libretto that really compliment and augment the emotions he’s encapsulating in his music. There are more than a few unique and attention grabbing songs that demonstrate that Alex Loveless’ reputation is by no means one garnered from false praise.

Direction and Production

The production behind the show is also of a high standard and is as impressive as the new musical writing on offer here. David Shields stage design does a good job of portraying several of the abstract themes. His dilapidated arches, with peeling wood panelling and painted with drab pastoral scenes, very handsomely represent the ideas of a waning aristocracy and nature being unforgiving and harsh, not to mention easily conjuring up Stonehenge: where the novel’s climax takes place.

Director Chris Loveless also makes great use of the space. Particularly in capitalising on the nooks and crannies among Shield’s flats, meaning that actors end up being framed dramatically, appear, disappear, or be hidden with ease. Working closely with  Movement Director, Lucy Cullingford, there are also bits of choreography and physical theatre that really add energy and slick showmanship to parts of the show. It’s just a shame that these excellent production values can’t stop the show from labouring.


Kudos to Casting Director Benjamin Newsome for finding a cast that can also play a plethora of instruments on stage without sacrificing acting ability. It’s really great to find such multi-talented performers, and make full use of their many skills. Particularly, Emma Harrold, Sarah Kate Howarth, and Jessica Millward are a trio of ladies who not only interact and bounce high-spirits and impish energy off each other, they work just as close-knit and refined an ensemble on violin, flute, and viola respectively.

However, Jess Daley in the titular role really steals the show. She’s astonishing at being the heartbroken heroine, balancing out devastating misery with a wonderful sense of romantic hope and feminine tenacity. You really feel the inner pain and turmoil that is written clear across her face, and even if you find yourself flagging because of the length of the show, it’s still easy to get lost in her the beautifully tragic portrayal of Tess.


Certainly worth a look if you’re a hardy Hardy fan, or keen on supporting some really great new British musical writing. Whilst the score is rich, vibrant, and original, be prepared for a show as long as the book is thick!

[youtube http://youtu.be/uTKh3pLmZ_U]

Tess of the d’Urbervilles plays at the New Wimbledon Studio, London, SW19 1QG, until 27 September 2014. Tickets are £15.40 (concessions available). To book, visit www.atgtickets.com.