Review: BECOMING NANCY, Birmingham Rep
Photo credit: Mark Senior
Birmingham is currently playing host to the UK premiere of Becoming Nancy, a brand new musical based on Terry Ronald’s best selling novel of the same name. With an elite creative team including director and choreographer Jerry Mitchell, composer George Stiles, lyricist Anthony Drewe, and book writer Elliot Davis, this production has all of the foundations for success but what comes with this is enormous expectation. Fortunately, and we are happy to say, it lives up to the hype.
Based on his experiences in the late 1970s as a young gay student at secondary school in East Dulwich, South London, Terry Ronald’s story is one that is heartwarming and heartbreaking in equal measure. “Becoming Nancy” has both literal meaning, with protaganist David Starr being offered the female role of Nancy in the school production of Oliver!, and somewhat metaphorical. Despite all of the hardship that he has to endure from peers regarding his sexuality, and in particular his own father, there is so much joy in witnessing his strength and eventual comfort in finding himself, with the help of new boy Maxie, best friend Frances, Aunt Val…and Sting, Blondie and Kate Bush who spring to life from posters in David’s bedroom…
David Rockwell and TJ Greenway’s set design is very reminiscent of a school hall, complete with wooden stage structure, beiges and browns, with small set pieces and props being brought on to create other settings, from rooms in the Starr’s home through to Brighton Pier. This is aided by Philip Rosenberg’s lighting (which goes to town during the club scene!) and Dick Straker’s video design. The costumes, designed by Jean Chan, are also deliciously of the era, planting us firmly in 1979.
Led by Sarah Burrell, the five-piece band perform George Stiles’ new compositions brilliantly, with an excellent sound balance struck between music and vocals. What is so clever in certain musical numbers is the influence and occasional sprinkling of notes/chords/phrases taken from the popstars’ (Sting, Blondie and Kate Bush) well known songs and moulding them into original numbers. There is a real mix between pop, disco and classic musical theatre genres predominantly, and whilst not entirely memorable upon leaving at the end of the performance, they certainly aid story progression and there are some real bops in there, as well as some gut wrenching emotional numbers to boot.
Portraying this beautiful story, directed with Mitchell’s clear experience and passion, are a stellar cast led by Joseph Peacock as David Starr, who truly is a star and a complete triple threat. He demonstrates superb comic timing, especially when breaking the fourth wall to address the audience, and invites us along for the emotional ride with him. Joseph Valla’s Maxie is a great counterpart for David and while not perhaps as vocally sound as Peacock, he is extremely charismatic and brings a lot of energy to his scenes. Paige Peddie is a revelation as feisty Frances who has her own personal challenges with students/teachers to contend with, surrounding her race and heritage. Her Act Two musical response to the ‘bullies’ truly packs a punch but you can’t help but root for her from the outset. Peddie also does a sensational Donna Summer-esque number in the Brighton club where she showcases her exceptional vocal abilities.
Olivier Award winner Rebecca Trehearn is a wonderful Kath Starr, and her relationship with son David really tugs at your heartstrings, particularly during ‘About Six Inches From Your Heart’. Her Blondie also sent us into rapture(s)… Stephen Ashfield is an utter delight as Hamish McClarnon. Most likely due to his longer affiliation with the role, having played the lovable drama teacher in the Atlanta production, his spirited, warm performance is so natural and comfortable to watch, and then another side is portrayed with his Sting, which is equally iconic. Speaking of iconic, Genevieve Nicole as Aunt Val - but more so as Kate Bush - is next level entertainment - what a talent! The wider cast as an ensemble are just so incredibly slick, particularly in Mitchell’s more energetic dance numbers; you would think they had been performing the show live for much longer than two weeks.
Becoming Nancy is a delightful, joyful, refreshing piece of new musical theatre with so much potential. With a couple of tweaks, it could be the next best thing. A few years ago, this show could have been groundbreaking but the content itself unfortunately isn’t ‘new’ these days, with similar topics represented in mainstream media such as the recent Netflix series Heartstopper. However, this is another example of a story that needs to be told, highlighting homophobia and racism in the 1970s, but sadly still relevant today. So thank you Jerry Mitchell for running with the idea and making Becoming Nancy happen.
**** Four stars
Reviewed by: Jenny Ell
Becoming Nancy plays at Birmingham Rep until 2 November, with further info here.
