Review - Bare: A Pop Opera (The Vaults)

Jon Hartmere and Damon Intrabartolo’s Bare: A Pop Opera is something of a cult favourite amongst musical theatre aficionados. Set in St Cecilia's Boarding School, a close-knit Catholic school in America, a pulsing score accompanies the complex and ultimately tragic story of two closeted students whose relationship is strained when they are cast in a school production of Romeo and Juliet.


Darragh Cowley and Daniel Mack Shand in Bare: A Pop Opera
Photo credit - Tom Grace

First performed in 2000, Bare: A Pop Opera could almost be described as a period piece in 2019 (and certainly one or two scenes and songs feel dated in a pleasantly nostalgic way, despite attempts to modernise – mostly down to the inclusion of mobile phones). Sadly, director Julie Atherton’s new production at The Vaults highlights the fact that themes of homophobia, body image, and bullying are just as pertinent now as they ever were.

Darragh Cowley and Daniel Mack Shand star as Jason and Peter, the schoolboys at the centre of the Bare: A Pop Opera’s main drama. Both actors are believable in their roles, and sell the pain of their joint and individual struggles, although the romantic spark between the pair doesn't fully flare up until they share the show’s titular duet as the story nears its end. The book doesn't offer much of a glimpse into their relationship during happier times, and so as the plot evolves rapidly, its sudden jolt into high drama feels a little disjointed, and as a result the Shakespearian tragedy of the ending falls slightly flat. That being said, watching the couple steal secret kisses between classes as they dodge the ever watchful eyes of their gossipy school friends offers a sobering look at the reality of their relationship.

The cast of Bare: A Pop Opera
Photo credit - Tom Grace

The production is bolstered by an almighty supporting cast, with the cohort who make up the St Cecilia's student body being excellent without exception. Lizzie Emery is sympathetic as Ivy, the misunderstood school beauty who turns Jason’s head and offers him a chance at (what he perceives to be) normalcy. And she sings the hell out of All Grown Up, an electrifying musical gut punch which stands out as a musical highlight in the show. Meanwhile as Jason’s sister Nadia, who also happens to be Ivy’s reluctant roommate, Georgie Lovatt brings humour and pathos in spades.

However, the most compelling supporting performance comes from Tom Hier, who brings an extra dimension to Matt, a classmate who becomes the Jason’s rival both in theatre (he is usurped of the lead role in the school play despite well-rehearsed audition) and in romance (his unrequited feelings for Ivy transition from sweet to malicious at a terrifying pace). Hier shows how Matt’s rocky relationship with religion conflicts with his own internal moral compass impressively throughout, and shines vocally during Are You There?, an angst and alcohol fuelled duet with Daniel Mack Shand’s Peter.

The cast of Bare: A Pop Opera
Photo credit - Tom Grace

The onstage band, led by MD Alasdair Brown, rocks the electric pop score throughout, but at times vocals are drowned out almost entirely by the sound of moving scenery in addition to the unavoidable rumble of trains from train station above. This is unfortunate, as the pop opera is sung-through with very little spoken dialogue, and therefore occasionally vital dramatic moments are diluted. Happily though, the enthusiasm of all involved shines through, and No Voice, one of Bare: A Pop Opera’s most chilling musical moments, is an incredibly affective send-off. As haunting harmonies ring out around The Vaults, the audience is left with plenty to think on.