'Identical', a new musical based on The Parent Trap by Erich Kästner, currently at Salford's Lowry Theatre, is the much awaited, brand-new musical from Stuart Paterson (book) and Stiles & Drewe (music). Produced by Kenny Wax and directed by Trevor Nunn it has the backing of all the theatre big guns – and it shows!
A beautiful, precision piece of visual theatre, 'Identical' is glorious to look at. The set (designed by Robert Jones) is created with stunning videography (Douglas O’Connell) onto moving screens. The transitions are seamless, the images faultless – I have accused digital image scenery of being lazy in the past, but not when it’s done like this! Supplemented with some key pieces (beds, piano, doorsteps etc), mid-century Europe is depicted in a series of breathtaking locations. Jones and O’Connell have made magic. Extra-realism is added by the gentle swaying of trees and even the passing of a tram in the distance - awesome. The visual feast is completed by an exquisite array of costumes designed by Jonathan Lipman. Especial favourites were Miss Gerlach’s entire wardrobe, the ensemble’s harlequin ballet costumes, and the lederhosen!
If you’re wondering why a ‘Parent Trap’ adaptation is staged in mid-century Europe, it’s because this is a pretty faithful adaptation of the original book by Erich Kästner. It tells the story of twins Lisa and Lottie who were separated as babies when their parents divorced. They have been reared in separate cities (Munich and Vienna) and accidentally find each other at a summer camp holiday. By the end of the camp, they have hatched a plan to swap lives – and therefore parents. Despite having schooled each other in their everyday habits, some significant details slip but their parents are none the wiser. In Vienna, Lottie (masquerading as Lisa) can’t help showing her musical talent. Her father is delighted but Lottie is not so happy when she discovers he has a love-interest in the Prima Ballerina who plays the witch in her father’s newly written ballet. She begins to have nightmares and, apart from when she is making music with her father, grows increasingly unsettled. Meanwhile Lisa (living as Lottie in Munich), discovers she really can’t cook and enjoys the great outdoors with her mother. When mother finds a picture of the two girls together at camp, the twins’ plot is uncovered and she and Lisa fly to Vienna…
Being based on a book, there are rich details to be mined and the strong storyline of ‘Identical’ does that to great effect. A standout example was when Lottie goes to the ballet in Vienna – a deliciously staged performance-within-a-performance, showcasing a highly talented ensemble with Hansel and Gretel danced by the wonderful Kirsten Muzvuru and Poppy Pawson. The principal adults are equally talented with previous credits galore listed in the programme. James Darch as the twins’ father, Johan, is an immaculate dancer with a strong voice. His housekeeper Rosa is played with strength and genuine warmth by Louise Gold, and Michael Smith-Stewart’s portrayal of Dr Strobi is understated with a twinkly eye. Gabrielle Lewis-Dodson brings glamour, sophistication, and frustration to life as Miss Gerlach in elegant fashion, which contrasts beautifully with her dance as the witch in both the ballet scene and the nightmare scene. However, Emily Tierney as Lisalotte, the mother, is just a powerhouse of a performer. With her two solos in act 2 she demonstrated her fantastic vocal talents and was the perfect loving mother throughout; bravo! This particular performance, it was the turn of twins Kyla and Nicole Fox to play as Lisa and Lottie, and along with the rest of the young ensemble, they were well-drilled, talented, calm, and confident performers – there was something very poignant about seeing siblings together on stage and what a triumph to take leading roles at such a young age.
The material they have to perform with is a delight; Paterson’s strongly written dialogue tells a clear story and is enhanced by Stiles & Drewe’s magnificent score. This pair are at the pinnacle of musical creation, original and grounded in true quality. There isn’t a song here that you have heard before and, although their style is recognisable, there was no hint of borrowed phrases or motifs from their other works.
One can only assume that with such an elite production team and steel-strong cast, 'Identical' is on a trajectory for the West End. It’s not entirely flawless yet - both acts were one song too long, especially for children; it needs a punchier start, there was a clunky feel to the opening 10 minutes or so, it felt like the cast were bedding in; and there isn’t that take-home song that everyone will be humming as they leave after the finale – but it’s a damn good show, destined for greatness, in my humble, unqualified opinion. Get a ticket, in a few years’ time you’ll be able to say, ‘I saw that BEFORE it was big!’
Reviewer - Justine Sutcliffe
on - 23.8.22
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