The Big Life | Live Show Review – TOP 20 MUSICALS 2024: No 15

Alanna Boden
Wednesday, November 27, 2024

Every scene reverberates with the triumph of the human spirit

Karl Queensborough, Nathanael Campbell, Juliet Agnes, Ashley Samuel and Khalid Daley (Credit: Mark Senior)

In 2004, The Big Life made its debut at Stratford East. Paul Sirett, Tameka Empson, and Paul Joseph took Shakespeare’s Love’s Labour’s Lost and infused it with vibrant seasoning and an infectious beat, thus creating an undeniable juggernaut of a Ska musical worthy of its West End transfer. Now, two decades and a scandal later, its return to Stratford East is greeted with open arms –
a long-awaited embrace from an old friend.

Upon their arrival in England aboard the famous Windrush from the West Indies, Dennis (Khalid Daley), Ferdy (Ashley Samuels), Bernie (Nathanael Campbell) and Lennie (Karl Queensborough) are brimming with aspirations for shiny new lives filled with opportunity. They forge a pact to abstain from women, alcohol and cigarettes for three years, all in pursuit of building successful careers. Admiral/Eros (Danny Bailey), sensing a chance for profit, raises the stakes with a £5 bet that each of them will succumb before the three years are up. However, their ambitious pact faces an unexpected challenge when they realise that the reception they are receiving (not to mention the weather) is far from warm.

Jasmine Swan’s bold costuming swiftly removes the question of whether the three-year abstinence from women will be achieved:each man is dressed in the same palette as the woman he will eventually end up with. Far from being accessories, Sybil (Gabrielle Brooks), Kathy (Juliet Agnes), Mary (Leanne Henlon) and Zulieka (Rachel John) bring balance to the stage. This marks a significant improvement from Shakespeare’s exchange of flimsy philosophical debate comprising a flat-out battle of the sexes.

Instead, the story delves into the intricacies of the process, exploring the how, what, where, and why that leads each of the men to break their abstinence vow, often with the mischievous encouragement of Admiral/Eros. It also explores how love evolves into a sanctuary of safety and peace in a land of rejection. Despite the skills and education the characters bring with them, post-war England compels them into more menial roles.

The story is told in various locations of London, with simple yet effective sets (also designed by Swan). The most notable is the tiny kitchen of the B&B where most of our characters reside. This small space that barely holds the performers is emphasised by the expanse of dark open stage that surrounds it. Though tight for the cast to navigate, it adds to the sensation of claustrophobia, the inhabitants forced into spaces out of sight in order to be their authentic selves. In this kitchen we see ‘Better Than You’, one of the wittiest ensemble pieces in which the couples vie to outdrink, outsex and outsmart each other.

Even with its inherently melancholic subject matter, The Big Life offers plenty of belly laughs. The comedic tone is established from the outset with the arrival of co-writer Tameka Empson as Mrs Aphrodite, dressed in her Sunday Best. Any notions of preserving the fourth wall are promptly shattered as she shouts from her box within the auditorium: ‘That’s my grandson onstage, he’s acting!’

Part narrator, part Greek Chorus, Mrs Aphrodite expertly covers the scene changes with historical facts and what appear to be whimsical observations of actions onstage and in society. One can imagine how this role has evolved in the 20 years since its first outing. Tameka Empson doesn’t shy away from the dark truths of the 2018 Windrush scandal but embraces them as part of the evolution of the Black experience in England (cue commentary regarding her favourite EastEnders character and the best brand of condoms).

Ingrid Mackinnon’s toe-tapping choreography perfectly captures the infectious rhythms crafted by Paul Joseph, ensuring that the movements encompass the true ‘feel’ of the music rather than a rigid adherence to tempo. It could have benefited from being a little louder though – some jokes were missed and the harmonies fell just short of spine-tingling.

Clocking in at three hours, it’s a substantial production brimming with comedy and outstanding music. Each cast member seizes ample opportunity to showcase their vocal prowess. Overall, director Tinuke Craig has crafted something remarkable which fully embodies the story it delivers: one of hope, joy, resilience and acceptance.