A timeless and familiar masterpiece
★★★★★
Homegrown musical theatre talent is alive and thriving in the West End and once again the grassroots have delivered another corker. Piggybacking the well-known IP of Benjamin Button, Jethro Compton and Darren Clark have delivered a knockout production that lives a life of its own. Free from the shackles of the 2008 film and F. Scott Fitzgerald’s original 1922 short story (simply sharing the aging in reverse concept), Benjamin Button is born and bred Cornish with the folk music and temperament of the show mirroring his coastal homeland. With a stirring actor-musician led score, heartbreaking performances and a beautifully tragic story this is a show for the ages.
For those unfamiliar with the premise, Benjamin Button is born an old man. Unlike most newborns, he can read, write and talk and is already partial to a drop of brandy and instead of aging further he ages backwards, steadily becoming younger and younger. His parents opt to lock him away an attic room, hidden from the world until he musters up his growing strength and sets out to live a little life of his own despite being told he will “never have a happy ending,” by his father. He falls in love, sails the open seas, fights in the Second World War staring down the adversity he inherited through no fault of his own. His lust for life permeates into those around him and it is impossible not to become uplifted by witnessing his story.
Writer Jethro Compton invites us to believe in this character and this fantastical tale, using numbers and dates to ground us in the world. The ensemble continually informs us of the date and time of the events, the measurements and the distances somehow convincing us that this is some sort of factual piece. Benjamin’s journey too intersects with moments of history as he grows up (or should I say down) through the twentieth century. There are no gimmicks either with the portrayal of Benjamin. Beyond minor costume adjustments, it is Compton’s writing and directing, Clark’s score and John Dagleish’s sensational age-defying performance that allows us to believe a man is ageing in reverse before our very eyes.
Dagleish is perfectly cast as Button. Even at his oldest, there is an undeniable youth to his portrayal - a cheeky glint in his eye whenever he speaks. His physicality alters drastically as he leaves the walking cane behind, standing steadily taller, his joints more relaxed as the years fall away. Before long a young man is standing in front of us where once an elderly gentleman stood, though now there is a weight of time set behind his youthful exterior. It is a seamless and gradual transformation, barely noticeable at first but utterly wondrous and demonstrative of Dagleish’s talent.
The soul of this show is of course fueled by the music. Utilising the depth of expertise in the ensemble, the music is performed live by the cast with a seemingly endless rotation of instruments. The folk score is infectious and organic, familiar and enduring, resonating within our very bones as it captures the absolute essence of the story in divine collaboration with the narrative and direction. The music delivers both giddy smiles during songs such as ‘A Little Life’ and ‘When E’re She Looked at Me’ as Benjamin steps outside for the first time and falls in love but equally offers heart-wrenching numbers including ‘Time’ sung by the outstanding Clare Foster (the underscoring of sniffs and tears dutifully provided by the audience). The score provides the backdrop for the entire story, eking out every ounce of emotion and meaning.
Man of many hats, Jethro Compton, is not only the writer and director but also the producer and set designer and this show is undoubtedly a labour of love for him. His script is efficient in its delivery, with words full of weight and meaning, often including foreshadowing that is near invisible on a first watch. His direction shows that he understands the characters we are watching as he guides them through the decades, bringing out the best in the actors whilst doing so. The complex piece is a whirlwind of movement drawing our eye around his tiered and detailed harbour set, ensuring that despite static scenery this is undoubtedly a visually appealing piece of theatre - emboldened of course by Zoe Spurr’s lighting design that retains the authentic feel of the production but draws out the spectacle, changing the scale of the space allowing us to feel the intimacy but equally the drama and turmoil.
This show is nothing without its cast. Each of them rarely leaves the stage and are our window into the story. They share the narration, setting us in place and time as the years begin to fly by whilst portraying the myriad of characters that Benjamin crosses paths with. Clare Foster is of course a stand out as Elowen, the only woman Benjamin ever loved. She conveys the character’s lust to live brilliantly and is truly captivating alongside Dagleish - with chemistry for days. She is charming and cheeky and like Dagleish presents an entire life across the two acts, subtly ageing (in the normal way) though the root of her character is unwavering. The ensemble are relentlessly spectacular, never holding back and working effortlessly as a unit to tell this tale. It is impossible not to be moved when they sing together.
This is another fine example of what can be achieved when new musicals are championed and supported from small stages. It is a musical marvel that states despite whatever it throws at you life is worth living and it deserves more than a long life on the London stage. Audiences deserve to escape into Benjamin’s curious existence for a few hours and leave feeling ready to live life to the fullest. Outstanding British theatre.
Currently booking until 15th February - Tickets
Photography - Marc Brenner
