Road Show tells the story of Addison and Wilson Mizner, two brothers making their mark in America at the turn of the twentieth century, seduced by fortune and influence.
The show’s score has composer Stephen Sondheim’s prints all over it although - like many of his later works - Road Show lacks the traits to ever be regarded a commercial success. First performed in 2003, it was Sondheim’s final completed musical and, given its niche and at times Vaudevillian style, it is perhaps unsurprising it has seldom been revived since.
However, it is still a Sondheim musical - with a book from John Weidman, who worked with him on Pacific Overtures - and that means that, for all its flaws, it remains thought-provoking, challenging and utterly compelling.
Director Amanda Noar’s revival at Highgate’s compact Upstairs at the Gatehouse venue is a captivating take on the piece. Together with set designer Ruby Boswell-Green, she makes the most of the auditorium’s modest confines to produce something that feels much grander in scale.
Oliver Sidney is a thoughtful, brooding Addison and portrays a conflicted character; one who wants to do good but cannot help but have his head turned by the opportunities of the era. From the gold rush to Florida’s real estate boom, Adi is at the heart of a new America.
Meanwhile, his lavish and at times oafish brother Wilson is much more indulgent. Played by Reece Richardson, he follows his desires of fame and gratification to dangerous extremes. The pair bounce off each other well and sing the score with authority.
Adi forms a friendship, later a relationship, with the younger Hollis Bessemer (Robert Finlayson), who gets caught in the crossfire of the Mizners’ fractious relationship but remains something of a moral compass throughout. Finlayson and Sidney’s duet ‘The Best Thing That Ever Has Happened’ at the beginning of Act Two is a highlight.
It is absolutely worth mentioning the ensemble in this production, who work so hard to extend its reach beyond a room above a north London pub. When the company comes together for ‘Boca Raton’ in the show’s second act, it is a visual feast and makes the most of the space.
Road Show also marks Madeleine Morgan’s professional theatre debut as part of the ensemble. Anyone who saw her winning the Stephen Sondheim Society Student Performer of the Year competition in June will already be aware of her talents and her performance in this production will surely secure her more prominent roles in the future. She shone as a vital part of the ensemble and is a real star in the making.
Road Show is flawed; Sondheim’s score is undoubtedly poignant and memorable but it lacks the fizz of his earlier works. That is not to say it cannot be appreciated here, of course. But it is Weidman’s book that feels a little scrappy in places and never quite seizes the initiative. It is a solid production, however, that Sondheim completists ought not to miss.
Road Show is playing at Upstairs at the Gatehouse until 12 January. For ticket information, see here.
Review: Tom Ambrose Photo: Simon Jackson