Created by Todd Almond
Directed by David Cromer
Review by Marina Funcasta
Summerhall – Main Hall: Tickets
Promising from the outset, I’m Almost There was truly unlike anything I had ever seen before. A story set to music, with no visual cues except for Almond’s occasional turns to the audience, this play is not for the easily distracted; for those with keen ears, however, it is a treat, following an epic tale of urban adventure which frequently flirted with the absurd.
First of all, the music is flawless. Todd Almond, a musical theatre veteran, tells his story with the narratorial authority seen only in Jason Robert Brown’s musicals. Indeed, this Broadway glamour exudes from every minute of this play; his posture, delivery, and overarching demeanour fuel the performance with a certain rich American decadence. And this is precisely what makes it so delicious.
Some interesting things were done with the other instruments, as well. David Cromer is keen to use the harp and guitar as accompaniments and their players as characters. The harp, played by Erin Hill, is seen in tension with Almond’s piano. Singing like a siren, Hill and her harp fuse into a singular foil. This ultimately adds to the absurdist, almost mythical, atmosphere. It is in these moments that the classical resonances the play strives for are most evident. Almost disarming, they decorate a somewhat relatable story in a way that infantilises the audience; to be sure, Todd Almond sets out the blueprint for the modern myth, constructing the oral tradition of our world. Lucas Macrosson also transfixes on the guitar, embodying a more sinister character in Almond’s journey. As the ‘‘sexy beast,’’ he is almost ridiculous in his earnestness.
What I found most impressive, however, was the pacing. Musically, this is easy to achieve by changing the volume and notation. In terms of the story, however, each modulation occurs perfectly, keeping the audience engaged and imaginative throughout. Anchored in ideas of love, the audience leaves this play with their own personal meanings, almost as if it were an audiobook—no surprise, to be sure, being sponsored by Audible.
Review by Marina Funcasta (contact@corrblimey.uk)
Marina is halfway through an English literature degree at Edinburgh University, wherein she has been (considerably) involved in the drama scene: enjoying performing with their Shakespeare Company shows, but also modern takes on Arthur Miller. However, Marina’s interests are wide-ranging under the theatre genre – enjoying abstract, more contemporary takes on shows (with a keen interest in Summerhall)
