Can certain controversial issues within musical theatre lead
you to feel slightly uncomfortable and weary, also whether a show with songs
and movement can be classified as a musical in the first place? The Arcola
Theatre’s production of Hilda Bar’s translation of Anat Gov’s musical, ‘Happy
Ending’ about terminal and curable cancer was vastly un-compelling and the
performances appeared under developed.
‘Happy Ending’ is set in a cancer unit at a typical NHS
hospital where esteemed stage and screen actress, Carrie Evans, who has not
even turned fifty required urgent treatment as she’s suffering with inoperable
stage four cancer, as such she is worried that the press might expose her
cancer before she even breaks the news to her family. The other three ladies in the unit, Miki,
Silvia and Sarah are both pleased by Carrie’s appearance on the ward, but
understandably they are stunned that the actress has been diagnosed with this
life threatening condition. When Carrie
is introduced to her fellow ward acquaintances, she learns of the stark reality
if what is going to occur with continuous chemotherapy sessions such as losing
her hair. As soon as the head physician in this field, Dr Lynch (Oliver Strong)
arrives to see his new patient, it appears that this is some tension as Carrie thinks
that Dr Lynch is arrogant and unfeeling. However, Nurse Fiona (Jodie Jacobs)
proves that her colleague’s methods of patient care are at the top of his
priorities and that he is a loving person. Throughout the performance, Carrie develops
an overwhelming sense of denial with the severity of her condition, and
obviously makes some brash and ridiculous decisions that the possibility of a
longer life expectancy. Her ward “friends” soon become frustrated by Carrie’s
attitude to her cancer treatment, and Silvia even refers to her experiences as
a survival of the Jewish holocaust, which enables Carrie to realise her
responsibilities for not only herself, but the emotion impact that it will
cause to her children who do not know of their mother’s lethal illness. At the
end, Carrie discharges herself as she wants to live more independently, and not
rely on her family for everything. Gov and Bar’s narrative was positively uninspiring
as the storyline felt too provocative, as well as the music and lyrics by
Shlomi Sheban and Michal Solomon was un-enthralling and un-imaginative.
One found the performances by the company of ‘Happy Ending’
were immensely disjointed and not impressive whatsoever. Gillian Kirkpatrick is
unexciting as the central protagonist, Carrie; particularly when she goes through
a daydreaming moment where she is deciding whether she will continue with her
treatment and her status as an actress. Andrea
Miller is substandard as gritty, Silvia; chiefly when she confronts Carrie of
her childish and immature attitude towards her cancer diagnosis, furthermore, her
explanation of her Auschwitz survival did appear to be too melodramatic and not
taken with sensitivity. Karen Archer is boring as the former hippy, Miki;
explicitly when she conveys about how terrible she was as a mother to her
daughter and how awkward their relationship has been, but has improved since
her cancer scare.
Guy Retallack’s direction and Jordi Guitard’s choreography
were horrendous here as the attention to detail in the characterisations and
dance sequences left a lot to be desired and how poor the rehearsal process has
been. Not acceptable to be honest.
Simone Romainiuk’s design is mediocre, even though it gave the
impression of the clinical environment, it did feel ailing in certain places
and you can see how shameful the communication has been with this production.
Overall, the experience of ‘Happy Ending’ was enormously disappointing and
indicates that this is not a musical profoundly.
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