Review - It's Only Life (Union Theatre)

It's Only Life depicts life as a series of moments. Some are happy, some are sad, and some are somewhere in-between. Starring a troupe of 5 performers who work in perfect harmony together, It's Only Life flows seamlessly from start to finish, as it celebrates the ups and downs of some of the most universal of human fears via the music of American Songwriter John Bucchino. Instead of focusing on specific characters, the production is a song cycle which explores universal themes via a huge collective of characters, each of which is given the length of a single song to connect to the audience. It’s a testament to Bucchino’s intelligent writing and the slick yet playful direction of Tania Azevedo that the result is a charming show which grips its audience with a careful combination of humour and melancholy, and doesn’t let go until the final number is through.

 

The cast of It's Only Life
Photo credit - Pamela Raith

Before the performance even begins, the audience is transported into an almost dreamlike world impossible to place in any particular time and painted all in white save a few props which stand out in red, green, blue and yellow pastel shades. Justin Williams and Jonny Rust’s eclectically designed set perfectly reflects the themes of the show. Surrounding the characters with a clutter of banal everyday items such as chairs, telephones and even an overflowing laundry basket, the space becomes a physical manifestation of the central idea of It’s Only Life, which is that life goes on no matter what.

The delightful songs of Bucchino, which are performed back to back without much breathing room, merge into each other with such ease that swathes of the show simply wash over the audience like a serene wave, piqued by a couple of comedic upbeat numbers which bring about several necessary changes of pace.

Notably, Will Carey, recently a finalist in the Stephen Sondheim Society Young Performer of the Year Awards, is given an excellent moment to shine during On My Bedside Table, a riotous and relatable song about trying to outdo an ex to prove you've moved on when, of course, you haven't. Meanwhile Jennifer Harding shines brightly in the delicately tragic I’ve Learned To Let Things Go, a number which brings the show to one of its few, and undoubtedly most heartrending, pauses.

It must be said though, that the most gorgeous musical moments occur when all 5 voices combine during the show's group numbers. Songs such as That Smile, which is choreographed to present a tangled web of unrequited loves, and the uplifting Taking The Wheel, which brings the cast together as the show begins to wind down, showcase the tight harmonies of the company, as well as their chemistry as an ensemble.

A sleek and impressive ensemble and a jigsaw puzzle of narratives which captivate from start to finish, It’s Only Life is life-affirming musical journey which will leave audiences floating on air.

Review - Stephen Sondheim Society Student Performer of the Year and Stiles and Drewe Prize (Savoy Theatre)

The annual Stephen Sondheim Society’s annual Student Performer of the Year competition culminates each year in a West End Gala, where young 12 finalists showcase their performance skills in front of an audience and a panel of esteemed judges. Previous finalists have included Taron Egerton, Cynthia Erivo and Alex Young, and so it’s evident that the finalists this year are destined to go on do amazing things. The competition runs alongside the Stiles and Drewe Prize for new musical theatre writing, which supports new musical theatre through a prize for Best New Song, and a Mentorship Award which sees one new musical receive mentorship for a year, culminating in an industry showcase. As was to be expected, the event proved to be a fabulous few hours, celebrating the best upcoming talent in musical theatre performing and writing.


Stephen Sondheim Society Student Performer of the Year winner Alex Cardall with judge Julia McKenzie
Photo credit - David Ovenden

The performer of the year competition was jam-packed with undoubtedly some of the most promising new faces in musical theatre, with the standard of performances extremely high across the board. Although there could be only one overall winner, each finalist performed with virtuosity, mastering the complexities of the music and providing fresh new interpretations of some of Sondheim’s most beloved songs, as well as some of his lesser known pieces.

After almost 3 hours of competing, the winner of the Student Performer of the Year competition was awarded to Arts Ed student Alex Cardall, who performed the marathon-like Buddy’s Blues from Company with ease, and wowed with his understated performance of You and Me by Adam Wachter. Wachter’s touching song about unrequited love was also awarded the Stiles and Drewe Prize for Best New Song, a testament to both the outstanding writing and performing on display.

Second prize was awarded to James Stirling, who was utterly commanding and transformative as the Wolf from Sondheim’s Into The Woods, singing the gloriously creepy Hello Little Girl. Meanwhile Stephen Sondheim Society Patron Julia McKenzie donated a third prize to performer Shelby Flannery for her rendition of I Wish I Could Forget You from Passion.

Other highlights of the competition included Will Carey, who opened the competition with Giants In The Sky from Into The Woods. Although the song is one of Sondheim’s most recognisable, Carey mastered the storytelling, making his interpretation exceptionally memorable. His second performance was equally impressive, as he tackled a new rock musical song, Everything Will be Alright by China Doll, Roxanne Lamendola, Leah Fogo and Scott Stait.

Additionally, Thomas Grant’s performance of the tongue twisting song Franklin Shephard Inc. from Merrily We Roll Along was a treat. Coming towards the end of the showcase, it provided a few laughs and a chance for Grant to showcase some brilliant character acting. Meanwhile, Amara Okereke, soon to be seen as Cosette in Les Miserables on the West End, performed a Not A Day Goes By from Merrily We Roll Along gorgeously, and was magnetic in her second song, Shone With The Sun by Benjamin Till, Nathan Taylor & Sir Arnold Wesker. Bonnie Baddoo's Ladies Who Lunch from Company was yet another highlight in amongst the exemplary selection.

In addition to Alex Cardall and Adam Wachter’s wins, Kit Buchan and Jim Barne’s The Season was awarded the Mentorship Award, and will no doubt be a musical to keep an eye as it develops over the coming years.

This year’s Stephen Sondheim Society Student Performer of the Year and Stiles and Drewe Prize was a remarkable showcase for some of the most exciting up and coming musical theatre talent, and it will be thrilling to see where all of the finalists end up over the next few years.