Review: SOHO CINDERS, Charing Cross Theatre

Prolific musical theatre duo Stiles and Drewe seem to be having a ball populating London with their works. While Mary Poppins - for which they wrote additional music and lyrics - looms large on the West End from the Prince Edward on Old Compton Street, director Will Keith just opened another musical of theirs just south of the Strand at the Charing Cross Theatre. Interestingly enough, Soho Cinders specifically serenades Poppins' address and is a celebration of Soho in its idiosyncratic beauty.

With a book by Drewe and Elliot Davis, it follows Robbie as he becomes romantically involved with James Prince, who's in the run for London Mayor and, most importantly, engaged to be married to his long-term partner Marilyn. Two bawdy step-sisters, a misogynistic and ruthless campaign manager, and a demanding sugar daddy won't make it easy for young Robbie and his best friend Velcro as they navigate their lives.

The score is effervescent but, unfortunately, the show is underwhelming and lacks stability as a whole. The ensemble numbers are wholly compelling and energetic, but the solos and the more reflective instances in the narrative are not as engaging nor as biting as the rest. It almost feels like Stiles, Drewe, and Davis aren't working on the same level of depth. The book, for instance, often offers basic and cliché dialogue that has the plot trudging along its events, which regularly don't have enough time to develop in their capacity.

Lyrically, Soho Cinders also feels quite simple, with certain songs not hitting too well but holding their own visually (an example would be 'It's Hard To Tell', which should be a clever tongue-in-cheek moment in which Velcro and Robbie bemoan the fact that it's becoming too difficult to identify gay men apart from straight ones at a first glance). The text, although, also presents a bunch of those self-referential and meta-theatrical elements that have the power to send musical theatre fans in overdrive, with none other than Adele Dazeem making a special appearance.

Luke Bayer is sweet but relatively insecure in his performance as the young protagonist; easily overpowered by the other men in the company, he sadly doesn't project sufficient charisma to justify the kerfuffle. As his romantic interest, Lewis Asquith is enticing with his internal dilemma and insecurities; as a character, his psychology is slightly more explored, and he's certainly a more interesting figure than his lover.

The Mayoral candidate has to deal with Christopher Coleman as the rigid and rightfully sleazy Lord Bellingham. It's a pity that there's no actual dramatic face-off between the two, as the actors' contrasting personalities would have added some weight to the outcome. Michaela Stern and Natalie Harman are fantastic as Clodagh and Dana, Robbie's trashy step-sisters. From wearing teddy-bear coats to animalier dresses with their bras showing, they're such delectable villains.

Hilarious in their portrayals, they're unashamedly mouthy and loutish but fit too snugly into the villainous mould to be authentic. Millie O'Connell's Velcro sits in rightful opposition, understanding but uncompromising, she is a sort of fairy godmother to Robbie. The real scene-stealer of Soho Cinders comes in the guise of William George, the zealous yet callous head of James Prince's campaign played by Ewan Gillies, who struts the room in tailored suits and an equally bespoke personality. From admirable vocal control to his crisp taunts, he's a layered and commanding presence on stage.

In all this, Soho Cinders looks and sounds good. Keith envelops the square stage as a traverse and uses a pink and blue colour scheme to characterise the space. Justin Williams' urban set isn't too directly recalling of London's Soho, but works well with its arches and neutral central area. The staging adopts different vibes with Jack Weir's lighting design, which is neon-driven and sharp, while choreographer Adam Haigh moves the ensemble numbers with tact and precision to deliver what are, in essence, the highlights of the show.

While Robbie's struggle is reduced to his choosing between pragmatism and a real love story, and his and Velcro's dreams of a "normal" life are made out to be the focal point of the story, the reasoning and set-up for them is sadly too hollow to hold much weight. On this occasion, the side-plot becomes far more interesting and the intrigue of the "politics of politics" muffles the romantic storyline. Altogether, the musical feels like it needs some of its elements to be refined.

The team close an eye at blatant sexual harassment, forgive stereotyping, and introduce London as a very white-looking city. The show is sardonic, funny, entertaining, and even moving at times, but these elements are too unsteady to make Soho Cinders a fully accomplished piece of musical theatre.

Soho Cinders runs at Charing Cross Theatre until 21 December.

Image: Pamela Raith

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