Laurence Owen’s Cinemusical was one of the big hits of last year’s Fringe. With all the popular (deliriously happy full houses) and critical (Malcolm Hardee award winner) acclaim resting on those shoulders – can the man do it again? Oh yes!
This time round it’s the 80s teen flick serving as inspiration. Now I have to ‘fess up and say I was more Betty Blue than Breakfast Club in the 80s but I know the main tropes and I did enjoy Heathers so I’ve seen them pulled apart. Laurence’s incredible talent though is he can take quite a niche theme, write narrative lyrics which border on an Asperger’s attention to detail and set it to a score which sounds both familiar but fantastically fresh. Put it through the Laurence Owen feel-good-factor-machine – always cranked up to eleven – and you’re guaranteed a level of entertainment that’s almost freakish for a one man show.
The story is pretty much The Breakfast Club (I think, see above) with five main stock characters: the popular girl; the nerd; the ‘bad’ sassy girl; the jock and the goth girl who doesn’t say much. They all get their own character-setting song which collectively serve to propel the (intentionally) predictable-but-hugely-satisfying-all-the-same story-line along. A lovely touch though – which just may become a Laurence Owen trademark – is the uplifting finale as delivered by a completely unexpected icon from sci-fi/fantasy cinema.
You may be asking can one man really play all those roles convincingly? Yes, actually. As well as being a ridiculously talented composer, musician and singer Laurence also has fine acting chops. Watch him become the sassy bad girl with a subtle change of tone and physical stance and be totally convinced. The Hollywood originals may have been created in one dimension but with his musical breath of life each one becomes a multi-layered character study. And -this is the cleverest bit – the musical motifs are so richly informed and full of love for the subject they manage to encapsulate every bad boy, bad girl, loser, outsider you’ve ever seen portrayed as they underscore the narrative (I particularly enjoyed the Officer Krupke from West Side Story influence used for ‘the jock’)
You know the joke about Andrew Lloyd Webber audiences whistling the tunes before going into the show? The great thing about Laurence Owen is he wouldn’t think it an insult if you said it about his work. But for my money – Laurence is a lot more subtle and a lot more talented. As with last year’s show this is really becoming the hot ticket so get along early to make sure you can get in.
(Review for 16 Aug)