Three years ago, when a chorus of
septua- and octogenarians on the Lyric stage gave rock songs new
meaning by singing them from their own perspective in
Road To Nowhere, I suspected that
the show’s middle-aged creators were patronising and exploiting the
performers, creating (as it were) a conceptual artwork made from old
people. I carried the same suspicions into
Love, a jukebox musical about a
coup de foudre striking two inmates
of an old people’s home. But I need not have worried: writer and
director, and the Lyric’s favourite mad Icelander, Gísli
Örn Garðarsson, prefers it when other folk join in his games.
Here, a “Community Choir” of local seniors give this show a backbone
and also etch their individual characters on it, both in the
naturalistic scenes and in a brief but delicious Chekhov parody at the
end of the first act. Melded with them, a clutch of professional actors
take lead roles: amorous couple Margaret and Neville are played by Anna
Calder-Marshall and Julian Curry, with Dudley Sutton trundling around
alternating between catatonia and puckishness, and at one point
lamenting in song that “The Drugs Don’t Work”.
Comedy often arises from the juxtaposition of songs with elderly
singers, but it is never at the expense of the latter: when they sing
“Hope I die before I get old”, they are taking the mickey out of
themselves, Pete Townshend and the youth-fetishisation of rock music
and culture in general, and when “Perfect Day” was delivered as a
nostalgic remembrance of a time before one’s beloved receded into the
vale of dementia I couldn’t help but reflect that Lou Reed himself is
now 66 years old. As the culmination of an exchange between Margaret
and Neville that consists entirely of snippets of song lyrics, the
company even pull off the considerable feat of reclaiming Jim
Steinman’s ludicrous rock aria “Total Eclipse Of The Heart”. Some
elements are misplaced: there’s no need to work in a vein of music-hall
numbers (do the math: today’s seniors grew up not with Marie Lloyd, but
with big bands and nascent rock’n’roll), and it’s not actually
compulsory to include Coldplay’s “Yellow”. But the show is a beautiful
reminder, both poignant and celebratory, that, sweep them under
institutional carpets though we may, old folk share our culture and our
feelings completely.
Written for the Financial
Times.