The View Upstairs
The Soho Theatre, 3rd July - 31st Aug 2019
When is a West End musical not a West End musical? When it’s a stones-throw away from what is traditionally considered to be the West End but just about ticks every other qualifying box… and then some. The restricted audience numbers this theatre can accommodate is the only compromise this high quality production has had to make, but I would not want to have seen Max Vernon’s stunning piece of musical theatre anywhere other than The Soho Theatre as it provides the intimacy, (and later the claustrophobia), that this production thrives off. It’s also refreshing to see that there are still off-West End productions prepared to commit to producing such exceptionally high quality productions.
Lee Newby’s lavish set design instantly transports us to the Upstairs Lounge in New Orleans. The sheer detail with which this has been recreated is impressive in itself, replete with a bar, grand piano, red velvet draped widows, and framed pictures of various icons of the day, Diana Ross, Judy Garland and Burt Reynolds! There was also a nice touch having several on-stage tables and chairs being occupied by some very lucky members of the audience. What a view they must have had!
As the lights dim, the stage slowly comes to life with Buddy, played by John Partridge, singing the opening number at a centrally positioned grand piano, an introductory hint of the exemplary performance that was about to follow. I’m not sure why I was so surprised by Partridge’s performance as he had already impressed as an actor when playing Christian Clarke in long running British soap Eastenders, but when actors occasionally cross over into the hit-and-miss world of reality TV, (We last saw Partridge cooking his way through a surprisingly emotional journey on Celebrity Masterchef… which he went on to win), it is easy to forget the impressive performances they are capable of, and throughout The View Upstairs Partridge’s performance goes from strength to strength, warranting the cost of a ticket alone.
That he is in fact surrounded by an equally competent cast is all gravy, including Tyrone Huntley who plays the central role of Wes, a fashion entrepreneur who has bought the burnt out shell of the Upstairs Lounge in 2019, unaware of its tragic history. Not wanting to throw out too many spoilers The View Upstairs is actually based on a true story, the story being that prior to the Pulse nightclub shooting in Orlando in 2016, the burning down of the Upstairs Bar was the biggest attack on the queer community which resulted in 32 people loosing their lives. Needless to say, having that knowledge as the story unfolds adds to a palpable sense of foreboding throughout as we learn more about each character by way of them getting a song of their own to sing as the story unravels. This New Orleans venue has become a haven for each and every one of them, where they can collectively be themselves and socialise with likeminded people without fear of prejudice wether they be gay, bi, trans, black or white… despite the regular police raids that were typical of the time.
Crossing the timeline between Wes’s purchase of the bar in 2019 and the story that unfolds in 1973 is both inventively and skilfully handled as Wes at first finds the burnt out bar seemingly occupied by the spectres of the past tragedy. Huntley, who we last saw giving an equally impressive performance earlier in the year as Obi in Leave To Remain at The Lyric, Hammersmith, gives his character of an insta-famous fashion wannabe a real presence and energy. Hopefully none of the actors were left in any doubt of the audiences appreciation of all their first class performances, as no song ends without a round of enthusiastic applause… which has not always the case for some new, or old musicals we have been seeing recently, but which is so richly deserved here.
The View Upstairs is also a rare production that successfully co-exists in both a pre and post AIDS era, and whilst it’s already heartbreaking to be introduced to characters having too deal with the very real necessity of living their lives in the closet, they are not only unaware of their immediate fate, but as an audience we are also reminded just how brief the freedom they would have enjoyed post Stonewall would have been, before the arrival of HIV and AIDS would decimate their community. The addition of Wes living at a time when the virus has become a completely manageable condition through effective medication being an incredibly powerful juxta position. On top of this Vernon also has plenty to say about a pre and post internet world, in which he finds a rich but equally compelling stream for the lighter moments in the play.
Despite what might appear an incredibly sobering night at the theatre, Jonathan O’Boyles production is a highly entertaining affair, no mean feet under the circumstance, and the original music (also by the multi-talented Vernon) helps this production fly. I have no hesitation in my recommendation to see The View Upstairs, but all I would say is go see it now… just in case it finds itself getting a West End transfer… which, whilst it would truly be deserved, bigger in this case might not be better!
★★★★★
