No Limits - A Song Cycle
The Turbine Theatre • 13th - 26th February
Written by Sam Thomas and directed by Dean Johnson, No Limits - A Song Cycle had its premier at the Turbine Theatre last night, and with it came an energetic cast of five with an abundance of musical theatre experience between them, having appeared in productions such as Sunday In The Park With George, Six The Musical, Soho Cinders and Elegies for Angel, Punks and Raging Queens amongst others. As the group took to the stage you’d be forgiven for thinking that you’d come to see ‘Friends - The Musical’, (it’s surely only a matter of time!), given the set is a warehouse style apartment that we watch this group of 20-somethings move in to, (a great job by set designer Justin Williams and impressively lit by Alex Musgrave). With the move-in complete, the group waste no time in taking out their smartphones and as they begin to swipe, the seemingly endless stream of picture perfect lives they see on their social media feeds lead them to the first song of the night, ‘Everybody’s Winning at Life But Me’. There’s a screen at the side of the stage, propped up against the wall like some giant iPhone, which initially allows the audience to see the images that the characters are swiping, but goes on to add plenty of visual value to the scenes that follow through an array of video sequences, and is a well utilised part of the overall set design.
If you’re thinking this is starting to sound less like Friends, and more like ‘Gen Z - The Musical’ however, you wouldn’t be far wrong, as instead of getting Ross, Chandler, Phoebe et al, we are presented with a group who Sam Thomas has chosen to identify only by a series of hashtag descriptors. There’s #Dreamer, (Natalie May Pairs) #Catfish (Hannah Lowther), #Fighter (Michael Mather) #Funemployed (Mary Moore) #Romantic (Owen Clayton) and #Swing/Dance Captain (Saffi Needham) all of who, as it turns out, aren’t moving in together at all, but are in fact simultaneously inhabiting a ‘multiverse’ apartment within which they each get to tell their story through a multitude of different characters. Yes, so far so Gen Z, although it could be argued that the hashtag identities are a way to make these characters ciphers for the problems life tends to throw up for many within this demographic.
As if any more proof were needed as to who this production is so strongly aimed at, the songs that follow are frequently peppered with references to Grindr, Taylor Swift, Nettflix and chills, DM’s, Reality TV, Catfishing, Onlyfans and binge watching endless episodes of Grey’s Anatomy. It’s not that these references would be completely lost on a more Gen X audience, but it’s brave to be quite so specific in targeting this relatively small section of the wider theatre going audience. Having set out its stall however, No Limits proceeds to serve up the many trials and tribulations of its characters.
One by one the songs deal with issues of love, loss, infidelity, grief, dating, sex and death, and one by one the problems are resolved within each 4 minute musical vignette, after which we are quickly taken off to the next one. Whilst there’s no denying this approach makes No Limits a remarkably feel-good show, where winning through positive thinking seems to be the name of the game, it actually has the unfortunate side effect of making everything feel rather formulaic. The dynamic of each song following the repetitive pattern of ‘problem experienced / solution found’ is optimistic at best, but does leave the cycle feeling a little bit predictable.
Where the production really shines however is when things are allowed to lighten up, and with an altogether more wry approach to songs like ‘Headf**k’ (dealing with the perils of online dating, brilliantly performed by Owen Clayton) the bar is set high given this is the first solo of the night. Similarly, Act 2 opens with the equally brilliant ‘Kinky’, this time a great showcase for the whole ensemble. With hilarious lyrics, and a rare chance for the choreography to shine (Movement Director, Rhys Wilkinson) it’s hardly surprising that these songs got the loudest applause of the night. These more lighthearted moments also allow Sam Thomas to flex his musical theatre songwriting muscles and are a welcome diversion after the occasional less-than-memorable ballad. When these more upbeat songs are also written to include more than one voice, Thomas proves he has a real talent at writing fantastic harmonies alongside any number of impressively complex counter melodies. It’s in these moments that the performances are also at their strongest, the slower solo songs leaving a couple of the weaker vocals nowhere to hide.
Dean Johnson offers solid direction throughout, a surprising teddy bear dance being yet another highlight of the night, and whilst there was definitely much to like about this production, the more memorable moments seemed just a bit to few and far between. With a good lyric here and a cool performance there, No Limits ultimately ends up a bit of a hit and miss anthology that might have been saved had there been a song strong enough to become that much needed ear-worm I could whistle on the way home. Despite the absence of a killer chorus however, all the songs were impressively played throughout by a five strong band led by Ella Ingram.
★★★
review: Simon J. Webb
pictures: Danny Kaan