Dominic Corr posted: " Book by Tim Firth Music and Lyrics by Take That Directed by Tim Firth and Stacey Haynes Tickets Begin from £18.00 ★★★ With Take That's 30th anniversary on the cards and a newly released cinematic adaptation of the original stage pr" Corr Blimey
With Take That's 30th anniversary on the cards and a newly released cinematic adaptation of the original stage production (The Band) starring Jayde Adams and Aisling Bea, there was cause to have a re-tread and freshen up of the official Take That musical crams itself with fifteen of the band's best hits: Greatest Days.
It's just a shame that while scouting for talented performers and choreography, the show couldn't have passed the script over for a few re-drafts.
At just under two hours and ten minutes, it becomes obvious that Tim Firth's book may not be the most elaborate or groundbreaking of plotlines to thread the Take That catalogue of songs through. Here, Rachel is the central figure, their unconfronted grief over losing a friend in their youth, a driving force that keeps her living in the past – afraid to move on with her life. But it's a dual-timeline sort of show, one where her past life at high school (played by Olivia Hallett) as she and her best pals score tickets for a boyband concert (it's never officially stated to be Take That).
The entire 'young' cast does an excellent job at capturing the character, even if the writing is a little on the nose with their portrayal under Firth's writing and direction with Stacey Haynes. Kitty Harris, Hannah Brown, Mari McGinlay and Mary Moore as Debbie. Brown, McGinlay and Harris with a particularly engaging performance as young Heather, Claire and Zoe. While Moore has a more substantial role, a touching one she carries well without tipping the show into melodrama.
Their love for the boyband can't keep them together forever, especially after a traumatic event pushes the girls to go their separate ways. Entering a contest twenty-five years later to see their teenage idol boyband's comeback event, Rachel gets the gang back together after winning tickets to their Athens leg of the tour. Jennifer Ellison is on fine form vocally and comedically as an adult Rachel but isn't able to stretch the role out until a good three-quarters into the script. The entire adult group worked well together, with Holly Ashton's adult Zoe forming an immediate chemistry with the group.
However, many of the quick routes to the audience are extremely outdated and feel almost lazy in their shortcuts to give a sense of character. Surprising, given the solid performances from all four of the principal cast across the board; vocally and comedically. And even when they aren't given a huge trove to work with, they turn in sterling performances that are near-impossible not to enjoy in some way or another. Jamie-Rose Monk punches with the comedy, nailing every delivery and maintaining an undercurrent of character development and depth to an older Claire, impacted the most physically by the breakdown of the girl's friendship. Similarly, Rachel Marwood takes the limitations of Heather's early character and weaves it into a far more engaging role, exceptionally confident onstage, easily holding court and projecting themselves into the very back of the theatre.
Though they aren't one of the principal characters, Alan Stock is deservedly robbing more hearts, and pinching more laughs than any. Serving as an ensemble of 'everyman' roles from airport security, bus drivers, and Grecian police officers, Stock takes to the comedy better than most, delivering every gag with a hit and even manages a touch of poignancy as the production rounds itself into the final corner.
Colour is reserved for Rob Casey's lighting, which though showbizzed to the max, can leave a few of those sitting nearer to the stage with a few spots in their eyes if they're not careful. It's a flashy production, with plenty of glitz and energy vaulting around the place, which is much needed given Lucy Osborne's more drab staging of faux-marble and moveable stairs. High above, a second platform stage offers a touching transition between the younger characters and their aged counterparts – especially towards the end as we return to the last place, they were all together. But its principal purpose is for the boyband to cut some shapes, and demonstrate the show's other key asset – Aaron Renfree's tight and synchronised choreography which aligns perfectly with each number and score.
As the 'boyband', members including Kalifa Burton, Archie Durrant, Jamie Corner, Regan Gascoigne, and Alexanda O'Reilly serve as a form of Greek Chorus for the show, detached from the principal plot – though Ellison often does call them out or rely on their input to drown out her struggles. They're never utilised fully, however, often jarring with the dialogue onstage or coming on to round out a scene with one of the many Take That numbers. Their movement is their speciality though, acrobatic, sharp and covers the group's extensive back catalogue of work – making up for a couple of performers who can't quite hit the notes of the number or project out against the score.
Though curtained with a shorter second act (if we're not counting the climactic reprise), the closing moments are where the production flourishes and demonstrates what Firth's story should have been – a stark, though humorous, piece on grief and the alluring temptation of nostalgia and staying in the past. Had the production placed this at the forefront and allowed more time for the older characters to expand on their roles, Greatest Days would easily stand toe-to-toe with its jukebox counterparts. But as is, feels closer to a tribute musical attempting to hide itself with a watered-down narrative.
There can be absolutely no denying that Greatest Days will be the greatest night for many. Even as Edinburgh hobbles out of August with post-festival fatigue, The Edinburgh Playhouse channels enough vivacious energy to see us right through those blues and pulses with an entertainment pop soundtrack that will bring everyone Back for Good.
The Greatest Night for Many
Greatest Days runs at the Edinburgh Playhouse until September 2nd. Tuesday - Saturday at 19.30pm. Wednesday and Saturday matinees at 14.30pm. Running time - two hours and ten minutes including interval. Suitable for ages Tickets: From £18.00 Photo credit - Alastair Muir
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