Review: MARIE CURIE THE MUSICAL, Charing Cross Theatre
Photo credit: Pamela Raith
Marie Curie, written by Seeun Choun (book and lyrics) and Jongyoon Choi (music), is making its English-language premiere at London's Charing Cross Theatre after seeing plenty of success in its native South Korea and elsewhere. But does the translated version at the Charing Cross Theatre work? The answer is more complicated than you might think.
There are some major strengths in Marie Curie, and the cast's performances are definitely a big highlight. Ailsa Davidson's portrayal of Marie Curie is particularly compelling, and her emotional depth and fantastic vocal abilities bring something special to the role - Davidson manages to convey Curie's intense passion for science and her personal struggles, helping the audience get a little more insight into her as a woman and a scientist.
The set (Rose Montgomery) and lighting design (Prema Mehta) are also fantastic, especially considering the small space the Charing Cross Theatre has to offer. The creative use of lighting to mimic the glow of radium adds a hauntingly beautiful and atmospheric quality to the production, and this visual element vividly highlights the dual nature of Curie's discoveries – both their brilliance and their danger.
The musical score also has its moments of brilliance. The standout song, ‘Another Name’, is particularly memorable and it captures the emotional essence of Curie's journey and leaves a lasting impression. Another notable song is ‘Radium Paradise’, which stands out for its different style and fun dance number. These high points showcase the potential for this musical to be truly exceptional – there just aren’t enough of them, unfortunately.
While ‘Another Name’ and ‘Radium Paradise’ stand out as high points, other songs in the musical don’t quite reach the same level of impact. The inconsistency in the quality of the musical numbers means that the show has moments of greatness interspersed with less memorable segments. If all of the songs had been as strong as these two, this could have been a truly exciting new musical.
The translation may have been to blame for at least some of the problems in terms of the songs – it comes across as quite literal, making the dialogue and lyrics feel stilted and, at times, clichéd, which completely detracts from the natural flow of conversations and songs, making some scenes feel awkward to watch. Add to that the vast number of scientific terms that come at the audience fast and furiously (unavoidable in a story about Marie Curie, of course), and you’ve got a sometimes bewildering book that confuses rather than educates.
One of the other main drawbacks is the pacing of the story. The plot feels rushed, with significant events such as the deaths of Marie's father and Pierre Curie appearing abruptly without any kind of buildup – in fact, it took us a few moments to understand what had happened, and it was only when autopsies were being mentioned that we actually understood what was happening.
On top of that, probably due to the rushed storyline, character development is lacking. We donn't get to know the characters well enough to become fully invested in their journeys, and important figures in Marie Curie's life feel more like plot devices rather than fully fleshed-out characters, which detracts from the overall emotional impact of the story. One moment, Marie and Pierre are working together and romance is most definitely off the table, and the next they’re married with a baby – the romance is left out, so it is hard to see them as a real couple.
Marie Curie has the potential to be a standout production with its strong performances, and its atmospheric set and lighting design make it a joy to watch. However, there are too many other elements that hold it back from reaching its full potential. With some refinements in these areas, it could become a truly remarkable – and important – piece of theatre.
*** Three stars
Reviewed by: Lisamarie Lamb
Marie Curie the Musical plays at Charing Cross Theatre until 28 July, with tickets available here.
