Watching the opening number was like watching a parody of a musical. The cliché dance moves, the lyrics ‘no more tears in the best town ever', and the bizarre choice to use a synth backing track whilst the cast wore 19th Century clothing just didn't add up.
Why Would We Care? is a show that suffers under the weight of a script that tries to pack too much into an immersive world. Every character gets a story arc and a song in Act One, and it feels unnecessary. There is a pay-off in Act Two when the narrative threads come together in numbers like ‘Protect'.
The Show is meant to focus on Pearl (Taylor Quinnell) and Theodore (Joseph Dennington), an unmarried couple expecting a child. They are tempted by Cecil (Will Byrne) and Marion (Gaby Coleman) to move to their town where private lives are allowed to be private, as long as public life is perfect. The premise being: why would we care about what you do behind closed doors?
I cannot fault the efforts and enthusiasm of a cast who deliver a musical that desperately needs someone to take a look at the book and fix the continuity errors. In Act Two, Marion talks about Pearl's Husband, despite the whole premise of the story hinging on the fact they are an unmarried couple.
Nor can I look past the fact that Ted doesn't tell Pearl about what's actually happening in the town for the entirety of their stay, and then - suddenly, in the final part of the show - Pearl cares enough to part ways with her partner and newborn baby in order to try and save the other residents of the town.
There are moments of great production and genuine promise. ‘Clara's Confession' sung by Alex Webster is a standout number that reminded me of ‘We Both Reached For The Gun' from Chicago, mixed with Taylor Swift's ‘No body, No Crime' in terms of narrative, but was very different in style. Unfortunately, it was immediately followed by ‘Soon I'll See Her' which suffered from an awkward melody. Thankfully, it is quickly redeemed by Camile Reid's lovely voice as Lillie in ‘The Chance'.
After rotating through the side characters, the plot finally gets back on track as we realise Marion is orchestrating the town through manipulation. We finally hear Dennington's beautiful tenor, and Pearl gives birth, and sings ‘If These Walls Had Ears', despite the whole premise being that people move to this town for privacy within their four walls. The plot continues to be frustrating and contradictory.
Act Two does improve, once we get over the most awkward choreography since Theresa May at the party conference. I felt for Coleman, tasked with playing a corrupt politician and having to do an upbeat dance number, it just doesn't land. The composition of her song allows her to use her character voice in the lower register, but pushes the notes too high that the characterisation has to be abandoned, revealing quite a beautiful sound. Coleman has an impressive voice and I'd love to see her in a role where she can use it fully.
The show is at its best when there's drama and conflict, numbers like ‘One By One', ‘You Know' and ‘Protect' are fantastic and give the production real gravitas.
We also get to hear more from Dennington and Quinnell, who are well cast for their roles, and are pitch-perfect on stage.
There is a show and cast here that are both full of potential. A simple fix is just moving the chair from the corner at the front to literally anywhere else, because most of the time the character who sits there (often Pearl or Ted) is frequently lost from view.
Changes to choreography, a number or two cut, and plot holes patched up would reveal a story with an interesting message.
Review: James Dix