THE BOYS IN THE PHOTOGRAPH by Andrew Lloyd Webber and Ben Elton (Mirvish). At the Royal Alex (260 King West). Runs to November 1, Tuesday-Saturday 8 pm, matinees Saturday-Sunday and Wednesday at 2 pm. $26-$110. 416-872-1212. mirvish.com. See listing. Rating: NN
A reworking of their 2000 musical The Beautiful Game, Andrew Lloyd Webber and Ben Elton’s The Boys In The Photograph got tweaked earlier this year in Winnipeg before arriving at the Royal Alex. Alas, the soccer-themed musical still feels like a workshop production. Some things play alright, but others should have been cut during tryouts.
It follows the ups and downs of a group of teenage footballers and their girlfriends in Belfast as the civil war between Catholics and Protestants begins separating friends. Some get drawn into terrorist violence, others seek vengeance and some get to sport really bad mullets.
Themes and motifs from superior musicals get kicked around, but there’s nothing to match the momentum of the battles between Jets and Sharks or Javert and Jean Valjean. You know you’re in trouble when newsreel footage advances a plot, or when a character who’s an activist in one scene seems to forget her politics in the next.
Elton’s book and lyrics are the main culprit here, skimming on character, mixing up tones and, worst of all, hitting his themes too hard. His direction is also less than subtle. A motif featuring photo projections of the soccer players feels shlocky and unearned.
But apart from a poignant folk-like melody here or a raucous ensemble number there, Lloyd Webber’s music never catches on, either. Brian Perchaluk’s costumes reflect swinging 60s fashions. Why doesn’t the music draw on the rock sounds from that era too?
All of this is a shame, because the proudly Canadian cast, headed by laser-voiced leads Tony Lepage and Erika Peck, tries their best. Lepage’s star footballer John has the most dramatic character arc, much of it packed into the second act, yet he pulls off the transformation believably. Peck, unrecognizable from her turn as Scaramouche in We Will Rock You, knows how to deliver a wisecrack and has good dramatic instincts, especially in her first duet with Lepage.
There’s talk of this production going on to tour North America. It’s hard to know who will want to see the show, especially during in the current economic climate. Sure, there’s a metaphor about the futility of war underlying every song in the second act. But after producing hits at the same theatre like Mamma Mia! and Dirty Dancing, don’t the Mirvishes know audiences want escapism in their musical theatre?
Maybe someone should tell them they’re backing a losing team.[rssbreak]
