In some ways, anything short of the
physical resurrection of the late David Bowie would have been a
disappointment as regards this musical based around his songs, which
was running off-Broadway when he died in January. However, it has an
impressive pedigree: lauded Belgian director Ivo van Hove and his
regular designer Jan Versweyveld (recycling his hotel-room set for
Song From Far Away, seen last year
at the Young Vic), a book by multi-award-winning playwright Enda Walsh,
musical arrangements by Henry Hey who played keyboards on Bowie’s album
The Next Day, and a central
trio of players from the New York production, led by
Dexter star Michael C. Hall.
Hall plays Thomas Jerome Newton, the extraterrestrial portrayed by
Bowie in the 1976 film
The Man Who
Fell To Earth. In some ways this is a sequel to that tale,
showing Newton some years on, stranded on Earth in a dissociative fog
of gin and memories. Van Hove and Walsh also acknowledge director
Nicolas Roeg’s approach to the movie by telling their story more or
less chronologically but not in a linear narrative fashion. They
cross-cut cubistically to other characters – his assistant Elly, the
nebulously Mephistophelean Valentine – make liberal use of video
projection to show multiple perspectives and introduce songs more for
colour than advancement of story. (“Where Are We Now” is cued by the
simple means of Newton putting on the vinyl LP in question.)
In some ways this is a Faustian fable, with good and evil angels
attempting to sway Newton; in some ways, it is the standard Walsh theme
of a paralysed, dysfunctional environment overturned by the wilful
irruption of an unexpected figure (or two). Put it this way:
Grease it ain’t. But the Bowie
dimension... I was going to say “excuses”, but it goes deeper: it
explains and grounds much of this
head-spinning evening. Our awareness of his persona of otherness — and
use of the evanescence of identity — from Ziggy Stardust through to the
bleakly shimmering musings of his latter years, culminating in
Blackstar, leads us to recognise
that a proper Bowie musical was never going to be succinctly
explicable. Yet it does not trade lazily on his brand: a number of
Hey’s arrangements, in particular the closing ‘”Heroes”’, cannily ring
the changes to avoid otherwise invidious comparisons. (Contrariwise,
it’s equally impressive to hear the seven-piece band faithfully grind
out a number as obstreperous as “It’s No Game (No. 1)”.) Hall finds a
mode of depicting semi-detached otherness which is not impersonation,
and it all adds up to a couple of hours of poignant remembrance as well
as a satisfyingly chewy work in its own right. In some ways.
Written for the Financial
Times.