The best yet from composer Frank Wildhorn
★★★★☆
The Bonnie and Clyde musical songsmith has a show back in London’s West End and his musical theatre pop score is his strongest offering yet. With catchy, flowing numbers that actors revel in performing this is an infectious and emotive production bolstering the first all-Asian cast in a London musical. Creating not just a quality musical but also theatre history, a sister production of Your Lie in April opened on the same night in Korea proving, according to Wildhorn, that “music has no borders,” with audiences across both continents now able to connect with the uplifting and moving story.
Translated and brought to the stage from Naoshi Arakawa’s original Japanese Manga by Riki Sakaguchi (translation by Rinne B. Groff) the story centres around high schooler Kōsei a former piano prodigy who since the loss of his overbearing mother can no longer hear the notes of the piano’s keys. When he encounters new student and violinist Kaori she offers him a new approach to his playing, declaring that music can be fun and does not belong within the strict confines of the traditional score or competitions. Through this new outlook, a somewhat tragic but evocative tale of friendship and forgiveness unfolds with the power of music front and centre.
Amongst a seriously talented cast, it is Zheng Xi Yong’s performance of Kōsei that steals this show. He captures Kōsei’s insecurities with impressive precision, amplifying during each rendition of Frank Wildhorn’s suite of songs. His voice delights in performing the music and he never once falters under the emotional weight bestowed upon him. Not merely content with acting and singing on multiple occasions he offers up note-perfect performances with the rotating piano positioned in the centre of Justin Williams’s expressive set. There is a scene in Act 2 when he delivers the entirety of Rachmaninoff’s Prelude in G Minor live and in doing so appears to stop time as we are held in the beauty and might of the moment - utterly captivating. It was clear during the bows what this role means to this young performer and I highly doubt this is the last time we see him leading a West End cast again.
Opposite Zheng Xi Yong is Mia Kobayashi as Kaori who brings her awkward quirkiness and whimsical nature to life delightfully. Her vocals equally soar with the score, an absolute triumph in numbers such as ‘Perfect’ but this time doubling with the miraculous violinist Akiko Ishikawa to render the character’s concert performances - nicely done. Kobayashi excels not only in the ballads but when working with Zheng Xi Yong, the two playful and sweet in their interactions, bubbling with authenticity.
Though Wildhorn’s score is packed with punchy and lofty numbers, the second half does begin to suffer from over-saturation and predictability, the script unhelpful too as the pace lags and conclusions whiff of strange pacing and fumbled landings. A few numbers and scenes would be better left on the cutting room floor to aid in the momentum and variety the first half works so hard to achieve. Extrapolating from the original staged concert from April Justin Williams’s set retains its heart but expands with vibrant video design from Lucy Rodgers. The piano graceful and firm, positioned as the nucleus of the piece with the cherry blossom tree watchful on the proceedings.
Your Lie in April is a fine addition to London’s West End and though only sticking around for three months it is fantastic to see a production evolve from a staged concert into a fully-fledged production. Like with many things in life, this production, as it stands, is a fleeting one but somehow this makes it all the more worthwhile.
Running until 21st September - Tickets
Photography - Craig Sugden
