The Curious Case of Benjamin Button
Jethro Compton & Darren Clark have brought us the best new musical that London has seen in a long time, and there is no doubt that it has an extensive life ahead of it too.
I'm actually very glad that I had 3 days of embargo to write this review, as there are so many good things to get down on the page, it is simply impossible to process them all at once. While this musical is not brand spanking new, with a run at the Southwark Playhouse in 2023 and having played its first public performance at Riverside Studios years beforehand, this is, however, its first time reaching a West End audience in an auditorium this size!
If there was ever a lovechild* of ‘Come From Away’ and ‘Fisherman's Friends’, then this would be it; which is completely apt, as the subjects of *children and *love are central themes in this show. Before even beginning to touch on each individual element of the production, it is so refreshing to see new shows reaching these commercial spaces while challenging the typical ‘’requirements” for doing so. Consequently they are paving the way for more to follow, such as the likes of Finn Anderson's ‘Islander’.
All the creative departments at The Ambassadors Theatre work in a harmony as smooth as those we hear on stage, with specific commendations due to every one of them…
Chi-San Howard’s choreography uses every inch of the space incredibly, and with such fluidity you completely forget you are in the capital city and can near enough smell the waves on the shore. Zoe Spurr casts shapes and shadows akin to those you’d expect from a HETV series - a phenomenal display of craftsmanship. Finally, Luke Swaffield’s sound design is like a good haircut framing an already beautiful face - utilising every amp and acoustic possible to enhance the extraordinary vocals from the cast.
Speaking of which, all of the performers deserve recognition for their contributions, as the entire ensemble were so multi-talented. To this effect we must acknowledge that each person on stage is an actor-musician who also dances and sings, an array of skills that is exceptional to find let alone execute as well as they do.
Standout performances were delivered by Matthew Burns and Clare Foster, and it was a struggle to take your eyes off of Philippa Hogg - her artistry shining through. Anna Fordham was so joyous at all times and, although it was rare to see anyone leave the stage for more than a minute, they really never stopped. To top it all off was Benjamin himself (John Dagleish). He was spectacular; truly the cherry on his own decadent cake. It was genuinely magical to watch him age backwards, especially as he fully embodied this with nothing left to the imagination. Some of this credit must naturally go to Compton’s direction and Anna Kelsey’s costuming, as both were faultless throughout.
The Curious Case of Benjamin Button encourages us to embrace what we cannot empathise with and accept what we do not understand. It is a reminder to live each day as if tomorrow is far away, so really you should book your tickets right now!
This show was reviewed on the 4th November 2024 at The Ambassadors Theatre, London where it runs until the 15th February 2025. Tickets available here: The Curious Case of Benjamin Button | Official Box Office | Ambassadors Theatre
Review written by Katie Anna McConnell
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Photo credit: Marc Brenner
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