Writer and Composer: Stuart Wood
Director: Sasha Regan
A wedding ultimatum, a sprinkling of chorus girls and a closet full of diva dresses, Stuart Wood’s musical Frank’s Closet performs its latest iteration in a new production at the Union Theatre. Combining a story about finding and accepting your true self through the music and ethos of some of the great singers of the twentieth century, there is plenty of ambition in Sasha Regan’s production even if the show struggles to dress up its flimsy plot and muddled narrative.
On the eve of their wedding, Alan demands that his husband-to-be Frank clear his closet and donate his collection of celebrity dresses to the V&A. Unwilling to let go of such prized attire, each with its own special story and connection to Frank’s life, he becomes increasingly unsure about the marriage, turning to seven of his favourite divas for advice.
15 years in the making, Frank’s Closet has developed from formative ideas through a ‘Listening Room’ for the soundtrack in 2019 and now this expanded revival. The concept is a solid one, a fantasia of perspectives and appearances woven into Frank’s life story, while the choice of divas is more broad-ranging than is often the case, with the standard Judy Garland and Dusty Springfield joined by Karen Carpenter, Marie Lloyd, Julie Andrews and Agnetha from Abba, although further diversity is limited by the single performer (Luke Farrugia) playing all of these roles.
There is some more thinking to do, however, about the staging decisions and overall coherence. The show begins in the bar of the Union Theatre which, like Rebecca Frecknell’s now long-running Cabaret at the Playhouse Theatre, includes opening performances in the drinking area from Sheila Blige (Paul Toulson) before each Act. Full-blooded though they are, what these have to do with the plot is unclear. Introduced as a barmaid, Sheila also becomes involved in the show, interacting with Frank and other characters which confuses matters. Why would the titular closet be in the bar, or is this a meta device to acknowledge the real theatre we’re in?
Catherine Phelps has created a wonderful design, a cartoon version of a theatre and the debated dresses, but there are technical and directorial challenges within the production that don’t match the precision of Phelps’ work. The sound mix is problematic throughout, an overloud piano frequently drowns out lyrics, particularly in the larger numbers while there are sticky harmonies that clash where they should meld. The Gaiety Girl Chorus who interact with Frank struggle to align their energy levels – Olivia McBride always gives a much bigger performance than Jack Rose and Oliver Bradley-Taylor with Sarah Freer just right in between – but the overall effect is lacklustre.
Farrugia steals the show with a series of entertaining diva numbers and some enjoyably quick transformations, and while perhaps they’re not instantly recognisable (Judy is more Liza), most of the show’s pep comes from Farrugia’s presence. Andy Moss narrates as Frank, but the audience gets to know very little about him and why he would ever consider marrying someone who asks him to make such an unreasonable sacrifice.
There is clearly a lot of love in Frank’s Closet and places to go with the idea but the story, its broader staging device and secondary characters need some ironing out before these divas dresses are given another airing.
Runs until 30 March 2024