Fringe ReviewLondon Reviews July-December 2009Over The ThresholdGenre:
Venue: Jermyn Street TheatreLow DownA contemporary musical tale of two neighbouring couples whose lives are turned upside down in one fateful evening.
Originally first drafted in an internet cafe in Mexico in 2006 and recent winner of MTM UK Award for best music for a new musical at the Edinburgh Fringe 2009, Over the threshold questions whether a little flirting in a relationship gone stale can bring back the spark. The theme is explored by giving insight into 24 hours of the lives of two couples thrown together and apart through coincidental circumstances, as they are torn between temptation and reason to determine the future course of their relationships and lives.
Review
Infidelity might drive a couple apart….but then so might monogamy. Cue new British musical Over The Threshold, a fresh concoction about the whys, woes and wants of married life, relationships and man/woman predicaments in general. Produced in association with Perfect Pitch musicals, the show started life as a concept album in 2006 starring Frances Ruffelle and Dianne Pilkington, followed by a succession of try outs (including a stint at prestigious New York cabaret venue Don’t tell Mama). The show then made its way to the Edinburgh Fringe this year, culminating in its current run at London’s premium fringe venue – the Jermyn Street Theatre.
Very much along the lines of similar ventures of its genre, Over The Threshold provides bitterly biting lyrics, tackling gender quandaries similar to those to found in quirky new American show I Love You Because, and sprinkles in pinches of humour in the vein of the 1999 Off Broadway success Little by Little. It is clear that the subject matter spinning along the plot line is a rather “in vogue” and popular one – musicals such as See What I Wanna See and Tick, Tick…Boom! spring to mind as further examples of this particular breed of contemporary musical theatre.
At a one act running time of 75 minutes rather than the usual two and a bit hours found in a two-acter, this production jumps straight to the point and wastes no time letting characters voice their frustrations, anger and desires. Set over the course of 24 hours, we follow the journey of two sets of couples who in their situation of newly acquainted neighbours deal with the fateful temptations and tribulations so often accompanying insecure and tempestuous relationships when opposites attract. Songs along the lines of Jason Robert Brown’s compositions are competently constructed and placed well within the storyline but with the exception of some witty lyrics (notably from Women Like You and Easy To Say) – generally don’t linger and are a bit unmemorable. The dialogue flows smoothly, aids character development and ultimately succeeds in resisting clichés to creep in.
The staging makes good use of what the Jermyn Street offers while the set is practical rather than decorative, if a bit confusing – I lost track several times of characters wandering between different locations separated only by chairs and floor markings.
The actors are to be admired for their total commitment. Displaying raw passion convincingly and repeatedly inches from audience members’ faces as they nonchalantly sip coke from plastic cups is no easy feat, and the continuous intensity of the piece allows for little emotional recuperation between moments. Helen French gives a stellar acting turn as actor turned office manager Kate, particularly her solo Somebody’s Wife proving that she is totally in control of her performance.
Madalena Alberto is wonderfully subdued at times as Sam, which results in a nice contrast, although I was not always totally comfortable with her vocals which sounded strained at times and a bit out of her singing range. One cannot help but fall for Kieran Brown’s moving portrayal of Tom, the unsuccessful puppy-dog eyed actor who despite spending a good amount of time in his underpants manages to convince as the true man of the game by the end of the piece, striking a particular chord with the female audience members. Trevor Jary as Charlie provides some very good singing, however his character did not come across as believable as the others, while his lack of romantic chemistry was apparent and hindering.
Ironically, the intensity which in many ways provides the success component of this work is equally what holds it back from reaching further dimensions. The crucial injection of humour at required intervals is too few and far between to give enough relief between angst, doom and gloom and to create the required balance to keep us hooked. Watching characters being put through the emotional wringer almost continuously can be tedious when ultimately the ending and outcome of it all – is as we expected and predicted from the start.
Despite these shortcomings I do welcome the arrival of a new British musical and though certainly a work in progress, this piece of theatre and more importantly its writer – shows much promise.
Playing at Jermyn Street until 3rd October
Reviewed by Jennifer Reischel 18th September Website :http://www.jermynstreettheatre.co.uk/whatson.html#overthethreshold http://www.overthethreshold.co.uk/ http://www.perfectpitchmusicals.com/
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