It’s not often that theatregoers will come across a song cycle in musical theatre: it’s a form that is more usually found in classical music settings. Andrew Lloyd Webber’s Song and Dance is perhaps the most well-known in the genre, but Edges is a more recent example – although not that recent as it’s been around for almost twenty years.

A cast of four young adults sing about the trials and tribulations of growing older, playing different characters in a variety of settings. All four performers here are exemplary, with Cameron Collins particularly impressive after taking over the role at a late stage. In the second male role, Gareth Evans has a telling way with a narrative song, especially when he tells of the fate of the class gerbil, Jorge, when he took it home for the weekend. It is a mark of his versatility that he can then bring a truthful lyricism to the heartfelt angst that characterises many of the songs.

Holly Adams, too, is an engaging and energetic performer who can bring a clear sense of story to her singing, as well as deftly sketching in character. The fourth member of the cast is Maia Gough, at her best in the more reflective moments but also her making her mark as the older sister who is leaving her sibling behind in Caitlin and Haley. All four cast members sing about ‘Facebook (Be My Friend)’ in a song which is a reminder of the early days of social media; we doubt that many of the young audience at this performance will have known those times.

It is in the more narrative-led songs like these that Taylor Jay’s production is at its strongest, with good use of the Phoenix Arts Club cabaret venue, with two playing areas to give variety. Staging is simple, with four chairs against a video screen (though maybe block that hole in the stage before putting the chairs in place next time). Hard-working musical director Ben Ward provides piano accompaniment and ensures that musically the piece is spot on.

Edges was written by Benj Pasek and Justin Paul when they were students, and was first seen in 2005 with a revised version following in 2007. There is nothing so outdated as the recent past, however, and the show’s song about Facebook and some of the other material roots it in its time. This need not be a problem and indeed will become less of one over time, but it did not help to add a few random mentions of Monkey Pox or Long Covid in an attempt to update it.

The licensing site for the show makes clear that it can be performed by four actors as here or by a cast of up to ten, since the songs are intended to represent different characters. With a cast of four, versatile as they are and with frequent changes of costume, it is not clear whether these were all different people or the same characters growing older, with the lack of any clear narrative working against the deft characterisation by the cast.

Edges deserves to be heard and the performances in this production are remarkable for their musicality and lyricism, but the piece as a whole needs more attention to be paid to the narrative if it is to be completely successful.

*** Three stars

Reviewed by: Chris Abbott