Review: A FACE IN THE CROWD, Young Vic

“I love you like Mary Shelley loved her monster.” Being in the right place at the right time can change your life. So, when young producer Marcia Jeffries stumbles upon a drunken Larry Rhodes while she’s recording a radio segment somewhere in the southern States, it seems like it’s fate. A gifted singer songwriter with a charming bluntness to him, Rhodes is immediately offered a slot on her show and his rise to stardom begins. Based on the 1957 film that launched Andy Griffith’s career, A Face in the Crowd is now only a creaky musical with an attractive cast. Written by Elvis Costello and Sara Ruhl, it’s Kwame Kwei-Armah’s swansong as Artistic Director of the Young Vic.

Featuring a starry lineup helmed by Ramin Karimloo and Anoushka Lucas, it technically has everything it takes to be successful. But fame is a fickle friend, and, as we watch Rhodes exploit his popularity for personal gain, this is proof that not even the shiniest, top billed names can lift some stodgy, predictable, utterly lacklustre material. Costello’s rock contributions are one-size-fits-all tunes. They all sound the same with largely formulaic wordplay in tracks that, at times, are incredibly bad. Between a song that proudly declares that nice guys finish last and another rock interlude about how fun it is to be famous, the company try their best.

Karimloo’s raw vocals alternate between a growling drawl and a smooth croon, while Lucas is, unfortunately, stunted by the score. Her big numbers should be arresting moments - we all know she can be a show-stopping force of nature - but her solos are average ballads that don’t let her reach her full vocal potential. Such a shame. Dated and overly traditional in themes and message, there are some obsolete anti-feminist ideas too. Her character, Marcia, is the victim of unwanted attention and constant belittling that are rarely addressed. It’s shocking that Ruhl never picks these threads up, opting to deliver a dime-store script that sits between a cheesiness and patheticness that never pushes us to the edge of our seat.

Kwei-Armah fails to establish any sort of tension or build-up, ultimately offering a bland and unnecessary adaptation of an excellent feature. There’s no cynicism nor any thorough examination of the trappings of fame, we breeze through the small print of Rhodes’s overnight success and never get a chance to sit back to interrogate what it all means. In a world where being viral is the lifeblood of celebrity, A Face in the Crowd bypasses so many relevant arguments and comparisons.

For example, with the United States going to the polls in a few months, the Young Vic could have explored the vicious role of celebrity endorsements, drawing a parallel between Lonesome Rhodes and current affairs. Just until a few weeks ago, the world was waiting with bated breath for the biggest international superstar to back one of the presidential candidates. When Taylor Swift finally revealed her support for Kamala Harris, she drove a massive surge in voter registration in the hours immediately after her Instagram post. 

Almost half of the show revolves on political loyalty and public patronage, even going as far as staging an extremely awkward moment of audience participation involving little flags handed out during the interval. Rhodes boasts to Howard Gossington’s Senator that he can make him win the election by merely telling his fans - a “case full of guinea pigs and sheep” - to vote for him. As we said, it’s a musical built with missed opportunities.

It’s necessary to say that there’s a handful of interesting bits and bobs in it that don’t manage to save the production. Karimloo’s biceps provide enough fan service to sell tickets and Anna Fleischle’s set design is stunning in its vintage elements. From pearl snap buttons and cowboy boots to all old-timey stage tricks and quick light changes (Jackie Shemesh), the project is a visual treat. Yes, the costumes are sometimes anachronistic, but they carry the right vibe. It’s a pity the substance doesn’t keep up with the looks.

A Face in the Crowd runs at the Young Vic Theatre until 9 November.

Photo credit: Ellie Kurttz