I Love You, You're Perfect, Now Change

This musical by Joe DiPietro and Jimmy Roberts was the longest running off-Broadway show. It won awards, was translated into numerous languages and toured around the world but, apart from a few brief appearances, it has never taken the UK by storm. It should have done! It’s a clever, funny and, at times poignant look at relationships from the first meeting to old age, with something in it that everyone can relate to – which no doubt accounts for its universal appeal.

This staging, in Portsmouth Players’ comfortable studio theatre, used one simple set throughout, brightly painted and decorated with appropriate emojis - another masterpiece by Caroline Moloney.  This and just a couple of tables and chairs, easily moved around by the cast, was all that was needed. Great lighting (Paul Moroney) and clever visuals displayed on either side of the stage (Katie Bosher) helped set the scenes, and colourful contemporary costumes (Players’ Wardrobe) completed the picture.

The show is a fast-moving sequence of individual scenes, with no characters or storyline carried through, making it the ultimate ensemble piece, with every actor taking on numerous characters and making them their own. Every single person shone with their exemplary acting, singing and movement – not a weak link in the cast – and so I can’t pick out any individuals for praise without mentioning everyone, so I will: Alex Bonner, Megan Dickson, Beth Evans, Ben Irish, Stephanie McKelvey-Aves, Rosy Stephens, Jessica Tame, Ben White, Gilly Williams and Nick Williams. I can only marvel at how you all remembered where you were supposed to be and who you were!

Charlie Frame, being mentored by Jo Alldridge for this, his first time in the director’s seat, had obviously paid a lot of attention to the style of the piece, and had brought out the humour and pathos, allowing the actors to develop their characters for the brief time they were on stage. Choreography (Charlie and Jo again) was interpreted precisely in the small space and singing, thanks to MDs Louise Helyer and Harry Wells, was always of a high standard. No microphones were used but every word could be heard clearly. A solo violinist proved the ideal accompaniment to Louise Helyer on keyboard for the music and they easily adjusted their volume to the singers.

It's always the sign of a good show when you emerge at the end with a real buzz, wanting to see it all again, and that was certainly the case here. The style of the piece, the way it swings from raucous humour one moment to a sad ballad the next, and the quality of the performances and direction, all gave me and, I’m sure the rest of the audience judging by their enthusiastic applause, a great evening’s entertainment. I love the innovative approach you are taking when choosing shows to perform at the Barn. Can we have more of the same please??

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