Review: TREASON THE MUSICAL IN CONCERT, Theatre Royal Drury Lane

Photo credit: Mark Senior

For some time now, the fuse has been lit on an explosive new British musical whereby our history is laid bare and the untold story of the Gunpowder Plot is explored in a fresh and modern way. This concert at the Theatre Royal Drury Lane marks the next stage in development as this musical burns with potential and creativity.

Its score by Ricky Allan is confident. Fusing folk and pop, it flows well and is full to overflowing in its unpredictable arrangements. Satisfying and well thought out lyrics punctuate a tumultuous narrative, with the development and refinement clear. Patterns and themes emerge exactly where they should throughout the piece creating a well-constructed and cohesive musical that goes beyond just a collection of individual songs.

In its overall attitude on stage, it is very self aware. Much like musicals such as Hamilton and Six, it is extremely critical of its source material, its place in history and the perspective through which the story is being told. This is evident from the unique use of a narrator injecting a sense of modernity that is surprisingly not out of place in this piece, providing spoken word that you'd be forgiven for thinking comes from a narrative in 2022, not the early 1600's. It’s shockingly relevant today and drives what can, at times, be a convoluted narrative into a streamlined and easy to follow story leaving gaps that are not at all confusing, but allows opportunities for our audience to discover the history that we have as a country; the dark and uncensored version that must come to light and be fully acknowledged in a respectful and honouring way.

And honour, this show does. At the centre of the narrative, we follow Thomas and Martha Percy (Bradley Jaden and Carrie Hope Fletcher) whose love story is incredibly grounded. Perhaps needing a smaller, more intimate venue to fully appreciate the journey they both go on, which is not a happy one, but still down to earth and genuine. Their Act Two number ‘Blind Faith’ is sublime though, and soars through the space.

Daniel Boys is a stand out as a deliciously camp King James. Walking an incredibly fine line in his performance and providing excellent comedic highlights, a villain who you love to hate to love indeed. He's magnetic and clearly having the time of his life in this role and we would love to see him bring this role to fruition in a full production.

While this show is otherwise brilliant and builds momentum brilliantly, during Act Two it was brought to an unfortunate and unnecessary standstill that stunted the energy that had been flowing until then. In a narrative so sure of itself, and of its audience in being able to connect the relevant dots themselves, we don't need a direct and out of place jab at the Prime Minister's Christmas party. Whilst funny, it's out of place and removes us from the material completely. Although it is nice to imagine the current government being blown up, it's ok to be confident in your audience making that connection themselves.

The aesthetic is also as yet unsure of itself. The costumes used in the concert serve their purpose for now alas, would be out of place in a cohesive production. There is definitely a show here however, a look that can certainly be achieved. We do feel, however, that as the material in itself is so good, the look and feel of the show will definitely follow in time and opportunity. One must think, if the material alone is this entertaining, we are definitely in for a treat when the surrounding show materialises.

The issue of the role, or lack of the role, of women is dealt well with creativity. Just when you feel that they have been left by the wayside, ‘Caught in the Crossfire’ provides an excellent perspective that is so self-aware of its place in history and the voices through which it is told. The exact line that ends it escapes us now, but is so satisfying in its craft, can be applauded all by itself. It fills the gap and helps bring the story into our times. Perhaps more of this would've been appreciated throughout the show consistently and not left until the last minute? Audiences are yearning for this kind of inclusion that feels natural, why leave it as a surprise?

This brand-new musical is exciting, explosive, intelligent and well... ‘All We Dreamed and More’. We have no doubt that this isn't the last we've seen of Treason and we couldn't be more excited for its future.

**** Four stars

Reviewed by: Callum Wallace