28 March 2024 I 14:30 I Gielgud Theatre, London
⭐⭐⭐⭐⭐
As Opening Night hits the West End, I find endless adoration for Ivo van Hove's staging of Cassavetes' 1977 film. The production finds a mystical representation in the challenges of creating theatre, and the interpersonal relationships that threaten disaster. This is the most stylish and intelligent new musical in a long time.
Fronting the story, Sheridan Smith is exquisite in every dynamic and nuance of Myrtle, an actress thrown into turmoil following the death of a young fan. She is endlessly enjoyable in the freedom of Magic. However, Smith really shines through devastation, memorably lying motionless on the floor, broadcast live upon a huge screen to encapsulate a remarkably overwhelmed expression. Van Hove has a delicate understanding of compassion, unlocking her distress to heighten audience empathy.
The unique vision of Opening Night features a documentary style, extensively used in highlights of fame, tension and abstraction. Fascinating angles showcase Jan Versweyveld's expansive set in its capabilities, even beyond the auditorium! Astonishing scenes feature Shira Haas' Nancy, exploring how a figment of imagination can exist in the real world. A motif for youth and possibility, Haas is magnetic with her outlandish energy, a symbolic relationship concluding with an unforgettably extreme scene.
From Amy Lennox's evocatively tragic Married to Nicola Hughes' Act One finale, the essence of womanhood defines a relevant production foregrounded by boundlessly impressive vocals. Rufus Wainwright's score is magnificent, transitioning from tenderness to pressured environments across grandeur and intimacy. Both Hadley Fraser and Benjamin Walker provide sturdy performances that amplify Myrtle's weakened state. Acted with egotistical presence, yet a convincing bridge for romance that balances an easy to understand story.
Innovative and sharp, Opening Night is one of my favourite musicals... ever! I can't stop thinking about it. Planning a return, its profound impact will leave your brain itching for more, activating a new way to observe 21st century theatre.
Part of a shorter series of reviews, initially published on Instagram to manage university demand.
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