To a great extent this production will stand or fall on how well its material travels. Britons may know
of
Woody Guthrie and have a vague, general idea of him as a
mid-20th-century protest folk singer, but he is not part of our
national fabric; we are not immediately familiar with songs such as
“This Land Is Your Land” or “This Train Is Bound For Glory”. We have
the General Strike and the Jarrow march (a decade apart, I know) where
American social history’s corresponding landmarks are the creation of
the Dust Bowl and the consequent westward migrations. Guthrie as an
icon does not immediately chime with us; the show has to sell him to
us. By and large, it does.
Its format
is bog-standard musical biography: narrative passages in third or
(mainly) first person interspersed with songs. Unsurprisingly, too, the
final 15 years or so of the life of Woodrow Wilson Guthrie (1912–1967)
are skimmed over, as hereditary Huntington’s chorea took its
progressive, degenerative toll; the final segment of narrative serves
as much to namecheck Guthrie’s son Arlo and his self-appointed musical
heir, the young Bob Dylan, as to complete the portrait of the man. It
is the songs and performances that carry the evening, together with
perhaps a sense of timeliness. As Guthrie tells of ordinary folks lured
into homelessness and never-ending debt by credit traps and sings
satirical indictments like “Jolly Banker”, one may feel that what went
around then has come around again.
It
is surprising how much casually dressed co-writer and central performer
David M Lutken comes to resemble Guthrie simply by donning that
trademark cap. He and his comrades Darcie Deaville, Helen Jean Russell
and David Teirstein let the songs do the driving whenever possible and
perform them with good nature, vim and virtuosity on a range of
instruments including not just guitars, fiddles, banjo and mandolin but
dobro, autoharp, lap dulcimer and even Jew’s harp and spoons. The
350-seat Arts Theatre is small enough for electrification of the music
to be unnecessary, which increases the sense of connection; folk music
needs to feel amongst the folk, after all. This show, if not bound for
glory as such, at least deserves to repeat its 2009 Edinburgh Fringe
success in the West End.
Written for the Financial
Times.