Since the start of the pandemic, The Barn has led the way for producing online content and opportunities for actors and creatives in a multitude of new and exciting ways. Like many other theatres, when restrictions were lifted, they were able to once again launch incredible theatre indoors that adhered to regulations, whilst not compromising the integrity of their mission. So with another lockdown flung upon the industry, The Barn went back online, breaking new ground in the realm of digital theatre. Late last year, they appointed actor and producer Ryan Carter as Creative Director of Digital Content, who last week tweeted that with the The Secret Society of Leading Ladies concert, he’d “Bandersnatched” theatre, and let me tell you Besties, he wasn’t wrong. 

What Carter and the creative team behind this concert have achieved is nothing short of mind blowing. Of course, the concept isn’t new. As Carter pointed out, for the viewer to have the ability to be in control of how a story plays out came to popular attention in the Black Mirror movie Bandersnatch, and a similar set up can also be found within the DVD features of Final Destination 3, but it has never been applied to theatre and in a word, it is game-changing.

The concept? Five leading ladies find themselves invited to a mysterious secret society. None of them know why they’re there or who’s chosen them, (spoiler alert) its you! As the viewer, you are allowed to build a concert to your own tastes through a set list that spans all eras and styles of musical theatre, as well as being able to choose from an absolute wealth of powerhouse talent. 

There are many things you can take away from this experience and one of the biggest (overwhelming talent aside) is the ease of navigating. You can stream the whole thing on your tablet without a single glitch, the entire concert links together seamlessly and when there are 150 possible combinations, that is to be beyond commended. The Barn are clearly under no illusion as to the importance of digital theatre at a time when it’s the only medium we have to find solace in theatrical expression, and the investment in this technology has and will play exponential dividends. Hats off. 

So, my personal journey began. My first selection was Allie Daniel and her rendition of ‘I’d Rather Be Me’ from Mean Girls. Instantly my expectations of this journey were exceeded; this wasn’t just a concert, there was a crafted narrative as Daniel entered unsure as to why she had been called to this enigmatic location to sing. Next came a performance of unbridled joy, comedy and truth. Nothing inspires me more than a performer resonating with a song, speaking a journey that allows them to be their authentic self and to say Allie Daniel did that would be an understatement, not to mention her gorgeous vocals and liquid gold riffs.

Next, I selected Kayla Carter and her rendition of ‘Somewhere Over The Rainbow’ from The Wizard of Oz. This is when the sophistication of the interactive concept and technology really took off. A conversation between Carter and Daniel formed a linking scene to Carter’s solo, however, this wasn’t just a scene that could have occurred between any of the other leading ladies, it was specifically directed at Daniel’s performance. To have conceptualised an online concert to this level of personal specificity is what will undoubtedly put The Barn on the map forever. Carter’s performance was gorgeously measured, making new vocal choices that only elevated the beauty of this classic and was able to dance the line between maturity and innocence with expert navigation.

What I wanted to most get out of this concert was the exploration of its huge variety and with that in mind, my next selection was Aisha Jawando’s ‘The Last Midnight’ from Into the Woods. When I tell you Jawando needs to play the witch at some point in her career, the universe must make it so. One of Sondheim’s most complex roles, Jawando masterfully explores all the layers within the witch alongside a technically flawless vocal. The mature and honest connections are dazzling with such powerful moments of explosion and introspection. I love a character song and I love Kander and Ebb, so my next choice had to be ‘Everybody’s Girl’ from Steel Pier with the bonus of it being sung by the wonderful Jocasta Almgill. Her performance was fiery and flirtatious, comedic and charismatic, again supported by incredible vocal control. The most thrilling thing about this concert is the feeling that you yourself are writing it; its magical and that feeling of theatrical magic has felt too often in short supply of late.

My final number was the beautiful ‘Dyin’ Ain’t So Bad’ from Bonnie & Clyde by the incandescent Emma Kingston. Having seen the show on Broadway and falling in love with this song nearly a decade ago, I knew I couldn’t end my concert any other way. Correct decision. Kingston careered through the emotional complexities of this song with ease and honesty. The vocal tapestry of this number was effortless and her emotional release assuredly balanced. Ending with a big finish from all the leading ladies, which was vocally transcendent, I was utterly blown away not just by the talent and the concept, but by the way it was so successfully and seamlessly delivered. 

Jamie Scott-Smith’s videography was wonderfully executed, capturing every single moment of thought, be it euphoric eruption or insular connection. They also made fabulous use of the space, which was supported by the incredible lighting. Ben Evan’s editing work on this entire project is nothing short of a masterpiece. Everything is so fluidly connected and with such a high volume of potential combinations, this is a huge undertaking. A moment of connection is never sacrificed, only elevated. Leo Munby excels in his role as musical consultant ensuring that all the leading ladies triumph through the myriad of vocal stylings and sounding pitch perfect, which is further supported by expert mixing from sound engineer Harry Smith.

What Ryan Carter and the team at The Barn have created is a wonder. The only downside is the limit to 5 performances. Having 45 seconds to choose was agonising and there’s so much more I wish I could have seen, but that is also the measure of an excellent programme, having a wealth of talent to choose from and to leave an audience member eager for more.

Multiple stream tickets are available and I’m probably going to buy another because with nine other leading ladies left, a buffet of talent still remains unexplored. What I will take away from this concert the most is the awe and wonder of discovering a new way of experiencing theatre for the first time. So thank you to The Barn, because in 2021 when theatres are still closed, that’s quite the achievement. 

***** Five stars

Reviewed by: Duncan Burt

The Secret Society of Leading Ladies is available to stream from tomorrow (22 February) until 7 March. To book tickets and for more information, please click here.