 |
| Reviewer and wife in a mock-up of Van Gogh's bedroom at Arles. |
All you could ask for in a musical: great songs brilliantly sung by both principals and chorus, entertaining choreography, and an excellent set with impressive technicals. A great night out.
Vagabond Skies is a sung-through musical based on the life of Van Gogh which was premiered at the Devonshire Park Theatre in Eastbourne on 12th September 2022.
It gripped me from the start, a chorus line of mining families bemoaning their poverty-stricken lives in the song 'Underground', the men going down under stage only for smoke to issue from the trap room and for Vincent Van Gogh (Richard Lock), then a preacher, to help haul one miner out. Off with a bang! It continued with a moving duet 'Brother of Mine' between Vincent and his brother Theo (Richard Dawes); this song had some delightful harmonies. Theo vows to support Vincent as he learns to be an artist; the problem is that Vincent's lifestyle offends the bourgeois sensibilities of parents and the local priests: the refrain of the song 'You Should be Ashamed' repeated itself throughout the first half. Vincent lives with a prostitute, Sien, and her daughter and this was chronicled with a lovely song sung perfectly by Chloe Campbell. He moves to Paris (cue energetic can-can dancing and the chorus song 'King of the Boulevard') and the first half draws to an end with 'Vagabond Skies', sung with brio and bravura by pitch perfect Chevaun Marsh.
The second half started with a celebration of the light and beauty of 'Provence' but swiftly Vincent's hopes descend into despair. The music becomes jangling and discordant as it follows him into mental illness. He fights with Paul Gauguin (Gareth Brighton) and cuts off an ear. The Arlesians gang up on him: 'Look at the Madman'. He finds refuge with some nuns for a while, who sing a beautifully harmonised plain-chant. Returning to Paris, where the critics have savaged his work, feeling himself a burden, he shoots himself. Theo dies the next year and the musical is ended with Theo's wife (Francesca Leyland) singing Johanna's Song, another super number sung superbly.
Unfortuntely on the night I attended Richard Lock seemed to have a cold and his top notes were a bit frog-in-the-throat but he battled through. Aside from this the singing from the stars was fantastic and brilliantly supported by the Ensemble, whether they were performing in chorus or as soloists; there were some memorable harmonies. They also danced with skill and energy; the choreography was great. The production was supported by a back projection of Vincent's paintings, sometimes, such as the sketch of Sein, appearing line by line as if in the process of being drawn. This reminded me of the Van Gogh Alive exhibition I saw in Brighton, especially when the squawking crows rose form the cornfield when the shot is fired. This backdrop was highly effected and helped tell the story. The moving on and off stage of innumerable cafe tables, paintings precariously on easels, beds, chairs etc was accomplished without hitch though I did wonder whether all of it was necessary. The sound production was immaculate and all the technicals perfectly supported the performance.
Unfortuntely on the night I attended Richard Lock seemed to have a cold and his top notes were a bit frog-in-the-throat but he battled through. Aside from this the singing from the stars was fantastic and brilliantly supported by the Ensemble, whether they were performing in chorus or as soloists; there were some memorable harmonies. They also danced with skill and energy; the choreography was great. The production was supported by a back projection of Vincent's paintings, sometimes, such as the sketch of Sein, appearing line by line as if in the process of being drawn. This reminded me of the Van Gogh Alive exhibition I saw in Brighton, especially when the squawking crows rose form the cornfield when the shot is fired. This backdrop was highly effected and helped tell the story. The moving on and off stage of innumerable cafe tables, paintings precariously on easels, beds, chairs etc was accomplished without hitch though I did wonder whether all of it was necessary. The sound production was immaculate and all the technicals perfectly supported the performance.
All those contributing to this production should be proud to have been involved in such a brilliant entertainment. I can’t imagine the story will stop here. Surely this is destined for a national stage. As Vincent’s own story shows, quality art will always be recognised in the end.
Comments
Post a Comment