A promising but underdeveloped new musical
★★★☆☆
Southwark Playhouse has a track record for programming exciting up-and-coming musicals, one of which has just curiously opened in the West End. It exists as a proving ground for new writing to see whether it has the legs for future runs or needs to refine and rethink before taking that leap. This show falls into the latter category. Whilst brimming with potential Fly More Than You Fall has an air of a story told a hundred times before, unable to add to the conversation, with the outstanding vocal performances not enough to compensate.
Eric Holmes and Nat Zegree’s new musical sees fifteen-year-old Malia (Robyn Rose-Li) dream of being a writer, forever formulating a story that parallels her life. This ambition is interrupted when her mom (Keala Settle) is diagnosed with terminal cancer so she and her dad (Cavin Cornwall) must step up to support her. The fear for her mum and teenage adolescence collide for Malia as she attempts to navigate friendships, a relationship and school whilst her universe crumbles around her. In theory this a moving and tragic story that seeks to inspire but (bar a few moments) it never manages to penetrate below the surface, the story feeling like an okay but cutesy John Green novel from the 2010s unable to shake its naivety. Ideas feel half-baked and characters seem distant meaning the emotion of the story struggles to escape the stage which is disheartening when you read about how personal this story is for the writers.
The show’s composer and lyricist, Nat Zegree, has crafted a strong score that captures the essence of the piece nicely but numbers begin to quickly seep into one another, feeling repetitive and creatively narrow. The title number, “Fly More Than You Fall” is catchy and pleasant but feels a little too hammered home by the end of the show, but the song “Here” is a moment where Zegree’s talent really shines. The songs are delivered with top-notch vocals from the assembled cast. Robyn Rose-Li’s voice dazzles and to no surprise to anyone Keala Settle sings with utmost control and emotion, a real treat to witness in such an intimate setting.
Direction and movement too feel underworked. The pacing is off and throwaway jokes are prioritised over the emotional weight of the story. Scenes feel cramped in the limited space left due to the large set, the choreography is hampered too, overall it feels like the development and rehearsal time was inadequate to give this musical its best chance of success.
The design comes from Stewart J. Charlesworth, the tiered space designed to look like wings using layered pastel paper sheets - a link to the bird-based story Malia is intent on writing. Visually it is appealing and striking but the minuscule area left for performance is frustrating. Jack Weir’s lighting design has effective moments that focus us in on the events but the programming is sloppy. Moving spots arrive late and drag themselves across the stage, emphasising the unfinished tone of the production.
With a talented cast and a promising score it is sad to see this production underwhelm but hopefully with reworking this deeply personal story can find its uniqueness and transfer its heart across to an audience. Big things are possible but this musical needs a little longer to find its wings.
Currently booking until 23rd November - Tickets
Photography - Craig Fuller
