SUPAS’ production of ‘Be More Chill’ demonstrates there is a strong future in the next generation of creatives, with the only question being left asked of them is to try and emulate more faith in their own abilities and a slightly enhanced focus to get them to the next level.
Alice Bell’s direction of Joe Iconis and Joe Tracz’s text, based on Ned Vizzini’s novel, is good. Transitions tend to avoid interrupting the action and there is a strong sense of narrative peaks and troughs successfully struck upon. Although Daniel Brown’s set design is easy on the eye with its simple-but-effective approach, the play is proxemically stagnant and there is no great use of the abundance of depth and height there is to utilise. Bell tidies this up nicely, however, with some great texturing of scenes using actors miming to populate necessary tones.
The live band, led by musical director and conductor Jack Wheatley, were nothing short of remarkable. I was thoroughly impressed by the way they expertly textured the piece, possessing the professionalism of a well-tuned, experienced orchestral outfit that wouldn’t be out of place in some of this country’s most accomplished venues. It is to his and to the great credit of Charles Harmer’s sound design that despite being live, it is so expertly balanced it sounds like studio recording.
Zara Walton’s choreography is also worth highlighting. It led with a physical intelligence that is needed in big musical productions, and certainly did more than just embellish the work. Although at times again the execution felt like it lacked conviction and readiness, making for some less captivating fixtures, there were enough strong executioners in the ensemble to carry the pieces over the line together.
Continuing on the theme of strength accompanied by inconsistency, Annabelle Cook’s lighting decision shows moments of bravery and real accomplishment, notably in the more complicated sections of live action to palette. However, there are some basic settings in which actors are not lit, and spots of darkness cloud the stage. Cook proves to be a talented lighting designer with the hard stuff, but a greater attention to detail would embolden the production. Emily Mawson and Isabel Butterworth do a great job in costume, cutting no corners whilst also acknowledging there is no need for excess with apt decision-making.
Jamie Stephens in the leading role demonstrates a strong emotive sensibility, at times letting us know they have the acting chops for the lead role with an informed approach to portraying teenage insecurity. At times, however, it felt like there weren’t many dimensions to Jeremy beyond this. This is echoed in Grace Imonhimi’s performance as Jake, which has a welcoming humourous touch, but an uncertainty or thinness is also present. To the performers’ credit, moments of theatrical sharpness and conviction arose still.
The rest of this full-bodied cast follow in some similar footsteps, with many of the same pitfalls (lack of precision, torpidity etc.) but their own unique strengths. James Laikin’s Rich embodies the hallmarks of classic musical theatre performance in his accentuated and direct affectations. Stan Smith’s Mr Reyes is flamboyantly manic in a comically theatrical way, a nice ingredient for musicals, as is Henry Barrett’s Mr Heere who is great comic relief (with a great musical number to boot). Abby Lever’s Scary Stockboy and ensemble role was focused and concise which the role demanded, and she rose to those demands with simple efficacy. Alicia Adeyele as the Squip offered a bombastic and charismatic performance that impressively executed the antagonistic force Jeremy is up against. Christine, played by Jess Aldersley, is equally impressive, with a very alive and engaging performance that captures the heart.
Esther Scourse excelled as Jeremy’s buddy Michael, with the solo number ‘Michael in the Bathroom’ demonstrating the show’s most qualifying understanding of live musical performance. Full of passion, confidence and emotional presence, Scourse takes their moment – and it is well earned. They have an appropriately playful energy that leans against the characters weaker moments in a harmonious fashion, which gives a sense of wholeness to Scourse’s work.
Brooke and Chloe, played by respectively by Nancy Rutter and Sophie Warren, were an excellent composition of shallow schoolgirl brattiness that was married to adept rhythm in dance and very present, convincing dialoging. Izzy Woolcott complimented the trio of high schoolers with a playful and thoroughly committed portrayal of Jenna Rolan, which made their post-party musical number a real tour de force. Again, ensemble efforts and choreography accentuate the prowess of these artists.
As far as student theatre goes, this production of the popular sci-fi musical gives you enough wiggle room to settle into a good night of entertainment.
Reviewer: Louis Thompson
Reviewed: 29th November 2024
North West End UK Rating:
I loved watching The Borrowers when it aired on TV in 1992, and can well…
Dolly Parton’s hits such as “9-5" and “Islands in the stream” grace the stage of…
Emteaz Hussain's ‘Expendable’ bravely tackles the harrowing realities of fear, misogyny, and the fractures within…
As the campaign to reinstate The Actors’ Centre grows in intensity, with a lack of…
The Lyceum Christmas show has landed! And in the tradition of Lyceum Christmas shows passed…
Produced, directed, performed, and choreographed by Dr Rowena Gander, Woman I Women is a physical…