The Third Man, a new musical adaptation of the iconic film, takes to the stage with a tantalising promise of bringing fresh life to a beloved classic, and with impressive staging and watchable performances, the production certainly creates a captivating atmosphere. But there is one aspect that doesn’t quite live up to the rest: the music.

The lacklustre songs, surprising given that the book and lyrics are co-written by the renowned Don Black (along with Christopher Hampton, with music by George Fenton), prevent this musical from truly shining. The songs do little to advance the narrative, and really, they just seem to get in the way of a good story.

Don Black, known for his notable contributions to musical theatre including Sunset Boulevard and Aspects of Love, is a name that’s generally synonymous with quality songwriting. Add George Fenton, a well-established name in music for TV and film, and the result should have been spectacular. Sadly, the result wasn’t what we were expecting. The Third Man's songs fail to leave a lasting impression, and the melodies are not particularly memorable. The lyrics, though serviceable, just don’t reach the heights you might expect from a lyricist of Black's calibre. Despite the talent involved, the musical numbers seem to blend together, lacking that special spark that elevates a production to greatness. They don’t do much to move the story forward and in fact, tend to pull the audience out of the moment when things are getting tense.

Nevertheless, the staging of The Third Man is undeniably impressive. Paul Farnsworth’s set design transports the audience to post-World War II Vienna, capturing the gritty atmosphere and shadowy intrigue of the film noir genre. The clever use of projections and lighting by Emma Chapman effectively adds depth to the stage, enhancing the visual experience. The attention to detail in recreating the film's iconic locations is praiseworthy, immersing the audience in the world of the story and allowing them to relive its most memorable moments.

The performances in The Third Man are a testament to the talent on display. The cast delivers strong and convincing portrayals, effectively capturing the essence of their characters. From the enigmatic Harry Lime, played with devilish flair by Simon Bailey, to the conflicted Holly Martins, played with a good dose of humanity by Sam Underwood, the performers breathe life into their roles with depth and authenticity. Their chemistry and commitment to the story create a palpable tension that holds the audience's attention throughout the production. For the most part, at least.

Credit must be given to Trevor Nunn, the renowned director behind successful shows such as Les Misérables and Cats. Nunn skilfully navigates the challenges of adapting a film into a stage musical, capturing the essence of the source material and maintaining a cohesive vision. His directorial choices bring out the best in the cast and make the most of the production's strengths, allowing the staging and performances to shine even in the face of the musical's shortcomings.

While The Third Man undoubtedly benefits from its strong direction and captivating staging, it’s difficult to escape the feeling that this story might have been better suited as a play. The songs, although not inherently bad, don’t contribute substantially to the narrative or character development. This disconnect leaves the audience longing for more cohesion between the music and the story, hindering the overall impact of the production.

If you’re writing a new musical, it needs to be new. It needs to be exciting. It needs to have memorable songs and clever lyrics. The Third Man felt like a musical from the 1980s, and we’re all well past that now.

** Two stars

Reviewed by: Lisamarie Lamb

The Third Man plays at the Menier Chocolate Factory until 9 September, with tickets available here.