Big - the musical

The film - on which this show is based - has become a classic over the years, with a star turn from a then unknown Tom Hanks, its family-friendliness, innocence, romance and that piano scene! In my opinion it’s one of the more successful screenplay to stage musical translations with an already theatrical story that felt as though it was screaming to be a piece of live theatre! It’s just such a shame that ‘Big – The Musical’ hasn’t had the success it deserves both on Broadway and here in the UK.  

The show first premiered on Broadway back in 1996 and closed six months later with the label of being one of Broadway's costliest money-losers despite already having a fan base off the back of the film and with the Broadway power couple of the time - Mike Ockrent (Director) and Susan Stroman (Choreographer) – at its creative helm. A professional production didn’t make it over to Europe until twenty years later which, again, failed to ignite with the public despite receiving rave reviews.    

The script is no mean feat to deliver! It’s hectic, fussy and undoubtedly provoked a few groans and eye rolls from the director and stage manager at first glance, no doubt followed by a few sleepless nights too! The mechanics and structure of how everything fits together probably didn’t seem achievable at times but PADOS need to be commended for pulling it out of the bag in such a tight performance space with lots of set and set dressing (which always needed to be in and out position in a flash) the sheer amount of props to coordinate was impressive in itself. Bringing in one scene as quickly as another moves out is an absolute necessity, the digital backdrop / video wall was incredibly nifty and helped transitions move fast. This type of technology is rare in our game and it works very well, making up multiple scenes without the need of more space-consuming set pieces. It’s exciting to see amateur theatre getting more tech savvy, some scenes appeared more successful than others with some ‘backdrops’ giving an out of proportion impression (the scene on the veranda being a prime example), typical teething gripes for such a new toy but is definitely a piece of kit I expect to start seeing a lot more of.

The vocal performance of the night was unquestionably Esme Mather as Susan who certainly knows how to raise the roof with her epic vocals, she captured the transition from the tense corporate driven workaholic to the mellow girl next door. Esme was paired well with an animated Peter Rigney as Josh Baskin whom the narrative centres. Josh (once he’s become ‘big’) is an all-singing all-dancing triple threat of a role, naturally and Peter delivered a worthy performance meeting the demands with flair and laudable energy.

Angela Mayall as Mrs Baskin gave raw emotion with ease during ‘Stop Time’ - a superb moment that ticked all the right boxes for me. Elliot Mills brought absolute showman qualities to his performance as Billy, he sang well and is a natural comic who knows how to shine when he needs to.     

The iconic chopsticks/piano scene was presented magnificently, the showstopping moment! The light up piano was all in-house built and what a marvellous job, showcasing the skill set within the company excellently, it was a joyous moment and no doubt rewarding for the cast and team each night.     

Mark Rosenthal produced a slick production and has done justice for PADOS as they celebrate their 100th year with a production that will remain a high point for so many in the society. Helen Wilkinson proffered some of the finest choreography I’ve seen from her with ‘Cross The Line’ being her showpiece, the ensemble appeared to be having the most fun performing this number which was visually appealing with the irresistible urge to bop along in our seats.

There is absolutely no other alternative but to have the musicians channelled through into the auditorium which I absolutely respect, however, it’s proving a struggle to balance it though it is improving, it did supply the sense of a live band without the impression of a muffled recording this time though some instruments were coming through much louder than others which is an area to address. The score itself, Musically directed by Sarah Osmond, consists of a large degree of principal soloists, ensemble solo lines and rousing ensemble numbers too, some soloists were more prepared than others with some needing more attention.

The cast was huge, whether the pull of celebrating the centenary year, the attraction of a “new” show or both ‘Big’ was an excellent choice, challenging – yes! …but, well worth it, I hope!

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