What would you do if you woke up everyday looking and feeling a little younger? Able to walk that little bit further than before, move that bit faster, remember things you previously couldn’t? It would be pretty good, right? But what if it wasn’t just a feeling, and each and every day you became a day younger than the one that came before, inching ever closer to young age and the day you won’t be able to do the things that you used to any more? What if you were born old and lived your life in reverse?
An adaptation of the 2008 film of the same name starring Brad Pitt and Cate Blanchett, which itself is an adaptation of the 1922 F. Scott Fitzgerald short story, The Curious Case of Benjamin Button introduces us to a boy unlike any other. Born days away from dying of old age, Benjamin ages in reverse, becoming ever younger with each passing day, until reaching the age of a newborn. Treated as an abhorrence by his parents, whom cannot explain the phenomenon before their eyes, Benjamin spends his life contending with his unusual condition, watching the world grow old as he grows young. Reimagined in a local Cornish community to the sound of sea shanties and folk song, The Curious Case of Benjamin Button follows Benjamin’s escapades, reminding us all to “make every second count”.
I walked into this musical having never read the short story or seen the film, and having only witnessed the production’s performance at the Olivier Awards, shortly before being named ‘Best New Musical’. But from what little I had seen, I had a hunch that I would enjoy this production. And how right I was. Feeling yourself smiling through the darkness and without any warning is a truly exciting feeling, and this production is fantastic at eliciting that rare reaction.
The cast behind this production are all exceptional. Led by Benedict Salter as the titular Benjamin Button, his performance is a good one, switching seamlessly from pensioner, to middle-aged man, to teen with ease, despite very little physical change to his appearance. His mannerisms are well-timed, and his interactions with each of the temporary characters around him are believable and heartwarming in so many ways. But whilst I enjoyed Salter’s performance as the titular character, it is his performance I want to focus on the least.
The cast structure of this show is a particularly unique one, in that primarily, every cast member is a member of the on-stage performer/band ‘ensemble’ (I say that loosely), filling in for other ‘side characters’ as almost a secondary addition to their primary role. And whilst there are a few standout members, such as Clare Foster who becomes Benjamin’s love interest Elowen Keane, and Philippa Hogg, it is their unity that makes this band of dozen players such a fantastic group to watch.
The ’ensemble’ all transition seamlessly throughout from playing characters to on-stage musicians, playing a variety of instruments each as we follow along their stories. Having a cast structured as this results in the entire on-stage team showing clearly the true bonds of friendship between each and every one of them off-stage, which when brought to their roles is powerful to witness. I have never seen such a tight-knit company perform together and it is no less than purely joyful, summed up perfectly in the final moment of the production, when the entire cast form into a circle, arms around each other as the lights fade out for the final time. Exceptional, and each of the talented team are what makes this production so seamless.
The music and sound that creates this show truly make it. The on-stage cast band play a truly remarkable and new score from Orchestrators and Co-Music Supervisors Darren Clark and Mark Aspinall, that brings you to the heart of Cornish culture from the West End. Comprised of sea shanty-esque, folk music tunes, with catchy beats and powerful lyrics, the continued theme of family is clear throughout, and is an exciting new sound that I am eager to download as soon as a cast album becomes available!
Speaking of sound, the acoustics make up a large part of this production’s selling point and they are largely very good. Entire group numbers are so powerful and joyful and lift you out of your seat on a wave of pure exhilaration, to the point where I found myself smiling in anticipation as I saw each cast member reach to their instrument. There are occasional issues with hearing certain cast member lines over this music however, but never enough to detract from the story or song currently playing but does take a while to acclimatise to.
Jethro Compton’s stage design is equally exceptional. With the Cornish and oceanic theme original to this production, Compton’s free reign over the reimagined theme is clear to see and his work is astounding. Whether it’s the aged wooden structures, hidden trapdoors revealing a sand pit or water pool, ropes simulating ship riggings and fishing nets or the very clever integration of the piano, it is clear how much thought and consideration has been brought into the design, and it pays with dividends. With secret points to discover as the plot progresses, you will find your eyes wandering, and with so much beautiful set to survey, there’s much to be taken in!
I also particularly enjoyed some of the staging decisions taken, whether this is having our on-stage cast band, the clever use of crates to simulate everything from a bed to a cliff the creation of a near semi-circular playing space, commonly adorned with our phenomenal cast around the edge, the way in which the playing space has been treated is one designed to bring our cast together. Given their tight-knit nature and clear bond in this respect, combined with the staging decisions, it is no wonder that their family nature comes across at every point, and staging has clearly been accounted for at each stage of the devising process, leading to the overall quality witnessed on stage.
Costume plays a relatively minor role for the majority of our cast, but it’s the transitions and the quick changes where costuming shines in this production. Benjamin’s age transitions shown by the losing of certain attire, the rapid transition between ensemble and named cast with a subtle yet effective, occasionally on-stage, quick change and the fact that each cast member’s costume is unique yet complementary to each other’s sells this show. Whilst the costumes aren’t as extravagant as many of the others in the West End right now, it’s one of the most cohesive and fitting the West End offers, a very difficult balance to achieve that this production manages with perceived ease!
The lighting for this production is designed well, but sadly offers less than the other technical departments in this show. This is by no means a criticism, as other departments have clearly been a primary focus for several reasons, but it does mean much of the lighting can be forgotten, with a largely naturalistic look used for the majority of scenes. It is, however, not universal; I enjoyed the use of torchlight to accentuate the message in a bottle, and the use of the ‘underwater’ state is very effective when used.
But this show’s biggest win is how is brings each of these elements together. Whilst productions can easily feel Frankenstein-esque in an often-clunky unification of elements, the way this production brings everything together is beyond belief. With its core cast and themes that everything else blends into and reinforces so well, it is no wonder that this show is cohesive from start to finish. It is also an exceptionally fun show! Emotional and often dark, yes, but so boundlessly enjoyable. You’re never left to feel down for extended periods, with upbeat numbers following emotional scenes where you cannot help but feel happy watching this, and that is achieved so well by every single person who has brought this show to life.
I cannot review this musical objectively. Because from the second the first song struck up a beat, I was focused not only on the joy in front of me, but on the friends around me. The family I chose, the memories I have made and the joy that they have each brought me. The Curious Case of Benjamin Button connects beyond just what is playing out on stage; it seems to find a way directly into your soul. It reminds us just what life means and why every single moment is as important as the last. It connects with dormant emotions and makes you consider all those who you love. It is a truly masterful piece of theatre, and one which I simply must recommend. ‘Best New Musical’ is well and truly deserved.
Rating: ★★★★☆
The Curious Case of Benjamin Button is playing at the Ambassadors Theatre until August 30th
