Our House

With its two interwoven timeline stories of ‘Good Joe’ and Bad Joe’ this musical presents a huge challenge to stage and to keep the audience following the various plot twists and turns. WOW succeeded magnificently and produced an absolute triumph of a production. Superb direction, choreography, acting, dancing, singing, lights, sets, costumes and music, all came together to tell the two stories. The show was, like the music, by turns gritty, moving, joyous, tragic, humorous - sometimes several of these at once. It met the challenges head-on and, with creativity, commitment, energy, talent and panache, held the audience gripped and enthralled throughout.

One of the many triumphs of the show was that it created different moods and atmospheres so effectively, providing great depth to the production and making the characters rounded and believable. This was partly thanks to the Madness music and lyrics but largely through the creative and clever Direction, Choreography, Set Design & Construction and Lighting, and through the high standard of acting, singing and dancing from the performers.

An example of this high standard of acting with its hallmark of subtlety and nuance was provided by Joe’s Dad. This is a difficult role to present to the audience because the character, while full of spirit and angst, is mostly so quiet and undemonstrative, although Night Boat To Cairo showcased his more upbeat side; the actor succeeded brilliantly, as in the very moving song Simple Equation. Kath was also played with subtlety and conviction and their duet, All I Wanted, was superb. So too was One Better Day which they sang with Joe and in which Kath’s fine singing really shone.

Joe and Sarah were spot-on and convincing in the very demanding lead roles, both individually and in the way they interacted with each other. Their duet It Must Be Love, sung with beautiful harmonies, had the audience gripped and was one of the highlights of the show. It made a lovely contrast with the also brilliant scene early on in the musical in which Joe and Sarah fall out, followed by the number My Girl. In addition to a very strong performance, Joe also managed excellently with all the quick changes required, from Good Joe to Bad Joe and back. Sarah’s excellent performance included a heartbreakingly moving rendition of NW5, along with Joe’s Dad.

The story was as much about community as about individuals’ paths taken through life, and the show was very much a team success, dependent on the strength of the supporting roles and the Ensemble, and their scenes and songs. These included a marvellously menacing Mr Pressman, Reecey’s powerful scene with Joe and the police and the song Shut Up, a nice little cameo from the lawyer with the house deeds in Embarrassment, strong performances from Joe’s friends Emmo and Lewis and Sarah’s friends Billie, Angie and Callum (who also doubled as Joe when needed). The Ensemble was an absolutely crucial element in the musical, they were the bedrock, and huge congratulations go to all of them for delivering the feel and atmosphere of the different groups, communities and locations; whether on the Camden streets of the 1980s, in a school or inside a tube train carriage, the inmates of a young offenders institution or guests at the Las Vegas wedding.

The talent and focus of the Ensemble was key to creating one of the most powerful elements of the show: the series of contrasting moods, as shown early on when the slow dancing on Margate Pier was followed by the colourful lighting and bunting of Casey Street and the big sound and lively choreography of Our House.

The big numbers were brilliant, energetic and faultless, with stunning choreography and a fantastic orchestra: Baggy Trousers was really rousing; Wings Of A Dove was celebratory and uplifting, even though it was part of Bad Joe’s story; Tomorrow’s (Just Another Day) with its very effective prison marching choreography gradually built up and was followed by the amazing laundry represented by waving sheets; the Camden Market scene was beautifully set with stalls and tie-dye costumes and had the great touch of a panoramic screen of Union Jack umbrellas which also covered a quick change from Good Joe to Bad Joe; the stirring Rise And Fall and the very strong ending with its reprise of Our House.

The main set, with its house in two halves, was a tour-de-force both in its creation and in its management on stage. It was virtually a character in itself and was very effective in setting the scene. The deft way in which it, and other elements of the sets, were moved around by the crew along with the shifting stories was most impressive. Well done to the Stage Management team for that and all of the other elements of stage-managing this ambitious show. The props, as with the Joey 1 car, were thoughtfully created and used on stage, and the lighting was well-designed to enhance the effect of the sets, as for example with the ‘harsh’ white lighting for the young offenders institution.

The astounding array of costumes also had the ‘wow’ factor, whether school uniforms, orange jump suits for the young offenders or ‘groovy’ tie-dye clothes for the Camden Market scene. The Orchestra was perfect and delivered in spades on producing the Madness soundtrack.

This was a wonderful show, of professional standard, brilliantly produced and performed. It had great depth, tackling complex, difficult subjects, and it kept the audience engaged, moved and roused throughout - a massive achievement. Well done to you all.

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