‘Once’ – West End

 OnceLDN

When I traveled to England this year, I had made a firm decision that I wouldn’t see anything that I had already seen, or could possibly see, in New York. The first time I saw the stage adaptation of Once was on its opening night last March (incidentally just prior to my last trip to London). However, I was drawn to the London production solely on a press photo I saw of the show’s West End leads, Declan Bennett and Zrinka Cvitešić. I loved the film and its simple but moving Brief Encounter-meets-folk-rock romance, and had also liked the Broadway production very much, but there was something about seeing these two leads that led me to buy a ticket, thus breaking my own rule. I snagged a seat in the stalls from the show’s website for £19.50 only hours before the curtain.

Currently playing at the Phoenix Theatre in the West End, the London production of Once (which started in Dublin a few weeks back) replicates John Tiffany’s Tony-winning staging. I have to confess I found myself loving the show even more the second time around. I suppose it could be that a second encounter with the show might heighten the experience, but frankly I think the West End ensemble takes the show to another plane entirely. The show as a whole is warmer, more intimate and more visceral. Bennett is exceptionally well cast as Guy: sensitive, soulful and remarkably well-sung. Cvitešić makes an incredible impression as Girl. Seeing the production in NY, I felt that the character was just a quirky, idiosyncratic device. However, Cvitešić plays her like a real person. The personality is still offbeat, but there is also strength, empathy, and frustration; such dimension and depth which delightfully took me by surprise. Together, their chemistry is palpable, taking the stakes to a higher level and make the ending all the more moving as a result.

The entire ensemble was outstanding, but special kudos to Michael O’Connor as Da, whose pre-show “Raglan Road” brought the bustling Phoenix Theatre to pin-drop silence as well as Ryan Fletcher, bleach blonde and eccentric as Svec. Their musicianship is impeccable. I am not the biggest fan of the John Doyle school of actors-as-musicians, but it is so perfect for this show.

I was told by several friends to expect a different kind of audience experience in London; people are more reserved, more guarded and apt to be seemingly less enthused throughout. So imagine my response as the Brits around me sobbed openly during the last 15 minutes of the show, and through the three (!) curtain calls. Since I was flying solo, I made some “show friends” – those people with whom you share two or three hours and then never see again – the two older ladies to my right were long time friends, both Irish. One had flown in for a visit, and the one next to me is a London resident who had picked up last minute tickets. At intermission, realizing I was familiar with the show, one of them asked,

“So you’ve seen this already?”

“Yes, I saw it on Broadway on its opening night.”

“Oh, really? Is it doing well there?”

“Yes, it’s a huge success. And it won the Tony Award for Best Musical.”

“Did you hear that? He says this won a Tony.” (to me) “And to think, we’d never heard of this show before this afternoon!”

The London resident told me about how Once seemed to have slipped through the radar, since the British media has been focusing on The Book of Mormon. Interestingly the two Best Musical winners opened within days of each other, meaning they’ll likely duke it out at next year’s Olivier Awards. We then turned to the topic of ticket pricing. I told them how much less expensive and easier it had been for me to get a ticket for the London production than to the original playing on 45th Street. They were more than a little appalled that theatre in America is as expensive as it is. As the interval came to a close, they unloaded all the recommendations of plays I should see while I was in town. After the bows, the two ladies sat down, tears in their eyes. In our parting exchange, the one next to me grabbed my arm and said, “I need to see this again.”

I wish I could see the original London cast of Once a second and third time myself. (And I really hope there’s an original London cast album).

Quote of the Day

From Charles Isherwood’s piece in today’s Times about movie musical adaptations (more specifically, his reactions to Mamma Mia!):

“And, most promisingly, a small movie coming out of nowhere managed to make the old-school conventions of musical theater bloom naturally in a strictly realistic, indeed even grungy environment. The indie movie “Once,” which ultimately won an Oscar for best original song this year, depicts a romance between two street musicians in Dublin. The scruffy Irish protagonist and his Czech girlfriend glide into their music with the ease of Fred and Ginger wafting onto the dance floor, reminding us that at its best, onstage or at the movies, the marriage of music and drama feels not just natural but inevitable.”

I have to agree. For my money, Once is the best new movie musical I’ve seen in some time.

Once

Though everyone has been talking about the movie musical in terms of adaptations of Hairspray and Sweeney Todd (the former I have not seen in its entirety, the latter I loved), the low-budget and low-key Once is the best movie musical of 2007. I realize I make that statement and haven’t seen all of Hairspray but let’s face it, my statement is unlikely to change if I ever decide to watch the rest. I’d say since the serious re-emergence of the musical as a film genre with Moulin Rouge in 2001, this is probably the most affecting of all.

It seems that nothing in this film should succeed. It was made for practically no money; the plot is relatively simple and the two leads aren’t experienced actors. Nonetheless, the elements come together with quietly devastating results; thanks to the musical work of the two leads, The Frames frontman Glen Hansard and Czech musician Marketa Irglova (together, both composed the entire musical score, I might add). Writer-director John Carney manages to use their sincerity and musical skill to great advantage. The plot involves a husker-by-day, streetsinger-by-night with an incredible gift for songwriting who meets a rose-selling immigrant on the streets of Dublin. Together they share a kinship – no – passion (that word gets thrown around too much but its most appropriate in this case) for music. In a short span (the film covers about a week’s time), they come together and well, make beautiful music. Sorry, but there’s no other way of putting it without cheapening it. The songs string together the story, often commenting on the character’s emotions while underscoring onscreen action. From such simplicity comes rich dimension. The two leads have both gone on record saying that they probably won’t act again (pity); however, they have been nominated for the Best Song Oscar for “Falling Slowly,” the best song in the film.

This song is heard twice; once in its formative stages in the beginning of the film as he teaches her in a little music store. It was at this point of the film, I completely surrendered myself, and there was no return. Patient, well-paced and emotionally overwhelming, everything you need to know is expressed through the music. Add to that, it’s also one of the most beautiful songs I’ve ever heard in my life. Yes, the songs are diegetic; they – and we – are aware they are singing. However, as we watch these collaborators express their heart and soul in their art, you almost forget they are singing, it’s that transportative. The creative bond that the two share transcends the usual sex-laden, superficial and supercilious sappiness that pervades most romantic films; for that emotional honesty I am nothing short of thankful. The film manages to accomplish much in terms of expression with a lack of pretention. I can’t wait to watch it again; I feel like the experience can only be enriched the second time around and I don’t think I’m wrong.

I haven’t been so moved by a score since I attended the opening night of The Light in the Piazza almost three years ago. I hope if and when you see this movie that you can have a fraction of the emotional response I have had. Duncan Sheik wishes he could write a contemporary score as effective as this.

My only qualm with the film? It was too short. But I must contradict myself by adding, if they made it any longer or bigger, it would destroy the charm and ambience. There have been films, plays and musicals that have ended and I’ve wondered what becomes of the characters post media res. Well, my curiosity for such information has never been more piqued. I want to know what becomes of these characters so badly. And I hope they never make a sequel; it’s that perfect.

I’m still a complete wreck two hours later.