Review - H.R. Haitch (Union Theatre)

Royal Wedding fever is well and truly taking over, and in the midst of the furore around Prince Harry and Megan Markle’s nuptials, Luke Bateman and Maz Evans bring their new musical, H.R. Haitch to the Union Theatre.
 

The cast of H.R. Haitch
Photo credit - Nick Rutter

In a fictionalised version of 2011, the British public is preparing to vote in a referendum on whether the monarchy should be disbanded. H.R. Haitch follows up-and-coming chef and proud working class Londoner Chelsea Taylor as she discovers that her sweet if slightly witless boyfriend and fellow culinary artiste Bertie is actually Prince Albert, the secret heir to the British throne. For most, the news would be a dream, but not Chelsea, a firm antimonarchist.

The dynamic between Chelsea and Albert is definitely the musical’s greatest asset, with Tori Allen-Martin and Christian James working sweetly as a couple, with excellent voices to match their lovable performances. It’s just a shame the plot doesn’t focus more closely on their struggle to balance their relationship and career goals with the pressures of the prying media and rabid public. The secondary plot lines (and there are many, ranging from a campaign to save Chelsea’s dad’s pub, to Chelsea’s grandma’s sexting escapades, via a pig-gate scandal and convoluted blackmailing plot - of course) are fun and offer great opportunities for the rest of the cast to show off their multiroling, but they also water down the central couple’s time on stage massively. The representation of the Queen as a potty mouthed woman with a comically massive hatred of both her dim-witted cartoonified son, and the majority of the British public, provides a few chuckles initially but is a joke which could do with being utilised more sparingly. 

 

Tori Allen-Martin and Christian James in H.R. Haitch
Photo credit - Nick Rutter

As it stands though, H.R. Haitch is a fun romp, but suffers from not only a slightly muddled plot but also several character inconsistencies which seem to do little more than pad the run time. Chelsea is established as a young woman who despises the Royal Family, but when she is confronted by them she seems utterly, genuinely star struck, despite the fact that when she previously met her royal boyfriend’s sister, Princess Victoria, she made her disdain for the crown pretty well known right away. H.R. Haitch also does a fair bit of dancing around Chelsea and Albert’s on-off relationship, and even attempts a Princess Diaries style makeover, but at no point does it seem at all necessary. The public is said to love the down-to-earth Prince once his identity is uncovered, and therefore having a more grounded girlfriend by his side would surely be seen as an advantage.

Negativities aside, there’s also a lot to enjoy in H.R. Haitch. The adventures of Andrea Miller as Chelsea’s lascivious grandma Vera, kitted out in an animal print blouse and pleather skirt, are extremely comical, Christopher Lyne does an excellent job multiroling as both Chelsea’s dad and the Prince Charles inspired Prince Richard, and Emily Jane Kerr’s turn as conniving Princess Victoria is a perfect mix of maniacal and yet strangely sympathetic. There are also some extremely catchy numbers peppered throughout, and those which show off the vocal abilities of the central couple are particularly fulfilling. Tori Allen-Martin is the perfect everywoman with a cracking voice to match, and Christian James is hilariously hapless every moment he is on stage. Undoubtedly this musical could do with a bit of fat trimming and streamlining, but with such an excellent ensemble cast, H.R. Haitch is a new musical comedy with plenty of potential.

Review - Muted (The Bunker Theatre)

Muted is the third show in The Bunker Theatre's inaugural season. The venue, converted from a disused carpark into an intimate 110 seat theatre, is effortlessly atmospheric, and the perfect home for Muted, an edgy yet surprisingly subdued new musical. 

Directed by Jamie Jackson, Muted tells the story of Michael, an exceptional young musician whose band was on the brink of stardom, until his mother was suddenly killed in a hit and run accident, after which he stopped talking altogether. Muted features a book by Sarah Henley and music and lyrics by Tim Prottey-Jones and Tori Allen-Martin, with the latter also co starring.

Tori Allen-Martin and David Leopold in Muted
Photo credit - Savannah Photography

Despite a slightly slow start, Muted is not short on surprising twists and heartstopping, lump-in-throat moments, as well as some genuinely uncomfortable scenes which tease at darker themes. However, paramount to the success of Muted is the strength of the cast. David Leopold gives an incredibly moving performance as Michael, delivering intensity and vulnerability without uttering a single word. Equally affecting is Tori Allen-Martin as down to earth Lauren, who feels so real and relatable that she's impossible not to love. Meanwhile Jos Slovick has some menacing moments as Jake, Michael's old bandmate and Lauren's boyfriend. The cast is completed by Mark Hawkins as Michael's flippant uncle Will, who was left to care for Michael after his mother's death, and in flashback form Helen Hobson gives a frighteningly raw performance as Michael's mother, while Edd Campbell Bird is charmingly winsome as young Michael.

As is to be expected from a musical about music itself, the pop and rock inspired songs of Muted are moving at times, featuring some haunting lyrics and gorgeous harmonies. The cast tackle each song with ease, and are accompanied by a wonderful little band, whose skillful and enthusiastic playing further emphasises the extent to which music is an integral part of the story. 

Another of Muted's more striking elements is Sarah Beaton's production design. A moat of water surrounds Michael's bedroom , which is represented by a small platform in the middle. Suspended from the ceiling behind it is a wooden swing. The use of water and the island-like platform in the middle are both interesting elements which are clearly symbolic of the isolation Michael feels, meanwhile the swing is used as a representation of Michael's youth and his relationship with his mother. The use of these set pieces is perhaps a little overzealous at times, but the splashing of water and soaring of swings create some undeniably striking images throughout the show.

Despite a sometimes meandering plot, Muted is a promising new musical. Impeccably cast and meticulously directed, it delivers a punchy and satisfying finale which will leave audiences breathless. 

Buy tickets at www.bunkertheatre.com