Our House

This musical is enjoying something of a renaissance in amateur theatre with many productions of it at present. It is not difficult to understand why it is so popular. A musical score comprised of virtually all of the hits of Madness ensures a musically satisfying evening. Essentially it is a jukebox musical, but with a clever script and storyline, this rises above the average jukebox musical. Musical numbers fall naturally into place and there is nothing trite or corny about the script. Writer Tim Firth ensures the show has good credentials, and through the Madness catalogue he explores themes of love and family, and values and responsibility, against the backdrop of growing up. 

We see 16 year old Joe taking his girlfriend Sarah on a date. They break into an old building and the police arrive on the scene. Does he hand himself in or does he escape ? At this point the story diverges and we follow the stories of both Good Joe (dressed in white) and Bad Joe (dressed in black) and pass back and forth between the two stories as they progress. It is good Joe who hands himself in and ends up with two prison sentences, but ultimately is redeemed, while bad Joe who escapes, becomes successful in business but this leads to shady dealings and the ultimate death of his mother. He ends up behind bars for something far worse than petty criminal acts. Ultimately the main message is that you follow the right path if you end up with the person you love. 

This can, if handled badly, be extremely confusing for audiences. Luckily here it was not. Linsie ensured that there was a clear signposting to the audience. The only time where potentially there was some confusion was right at the start of the show where we meet Joes mum and dad, prior to his birth, and then move forward in time 16 years to meet 16 year old Joe and there is the gradual realisation that his father has died. This was not so clear initially. 

The show relies on the central performance of Joe, and ithe society have someone of great ability. He was absolutely superb. His constant transitions back and forth between the two Joes, were seamless and he adopted quite different postures, mannerisms and gestures to distinguish between the two. It was a power house performance worthy of the final standing ovation on its own account. I believe this character has the most costume changes of any musical theatre character. 

All of the other characters appear in both storylines and have to react very differently so they develop differently, so the challenge for a director is that you are , in essence, directing two pieces, not just one. 

There was a lovely performance as Sarah, the fledgling lawyer, and provided a sobering backdrop for both developing Joe's.

Joes friends Emmo and Lewis were entertainingly played.  I particularly liked Billie and Angie. I love the bitchy dialogue from this pair, who don't give Joe an inch. They are a good contrast to the rather chaotic Emmo and Lewis. 

There was a lovely homely and supportive Kath, Joe's mum. Always proud, but ultimately meeting her end at the hands of bad joe. His deceased criminal father provides the commentary to the piece. Observing and commenting. This was given a nice touch, always careful to avoid dominating a scene, but being present just enough that we are well aware of his thoughts and feelings and guidance.

The baddies of the piece are Reecey, given a nice sleazy and greasy presence and Mr Pressman, the rather ruthless property developer. I always enjoy the Pressman office scene involving both Joes and differing responses of Pressman and his secretary.

The show had great pace, Linsie ensured things moved swiftly along with never a dull moment or a pause between scenes. The excellent composite set helped this aim. Musical numbers were well choreographed. In fact it was some of the best musical staging I have seen from this group. The music was, as is to be expected, deftly handled by Chris and his 6 piece Band, situated as usual off stage right. They produced a great sound, as did the cast, at their best when singing en masse for the big set piece numbers. 

Sound was, on the whole, good. My only criticism was that in the big numbers where everyone was signing, and there was dialogue to the front, that dialogue went unsupported and unheard. The Las Vegas scene was an example. I've played Pressman before so knew what was happening, but other audience members might not have.

Lighting design was excellent and added to the great visual feel that this show had. 

I said at the 2019 production that the society had surpassed itself, but they have done it once again and this was very definitely the best show I have seen at Dawlish for a long long time. Everyone should be very proud of this achievement as it is a difficult show to do well, and do it well you did !!

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