Creator: Midnight Lotus Productions
Director: Mrin Somani
Music Director: Michael Clulow
You may enter this show as an audience member, but you will leave being responsible for selecting the victor of the most intense showdown category in history: an open-call audition for a new musical. This choose-your-fighter style production is one that certainly entertains anyone with their foot in the musical theatre world, with references to many stereotypes one might see going into an audition room. However, this musical improv-comedy features the classic mix of neurotic, heartbroken, horny lesbian, princess and popular girl which creates (painfully) accurate and amusing dynamics for absolutely anyone to enjoy.
Though this play is a success overall, there are moments where it falls short of its potential due to logistical difficulties which can be honed throughout future performances. Open Call is the definition of ‘fun chaos’, which although is not always perfectly done, remains a highly immersive and joyful show to go and see.
Upon entering, we are each greeted as members of the panel with a firm handshake and a pearly white grin, by production assistant Mrin Somani. The standard for energy is set and we are taken out of our heads from the day we are having to completely engage in the next hour.
We are told there is a QR code that we scan each time we vote for one of the cast members to be eliminated from a round of singing, to see who will proceed to the next round. Members of the audience scurry to find their phones and the theatre is filled with phone lights and questions about the Wi-Fi password, which slightly undermines the energy newly introduced to the room. Many people will put their phones away before a show, so perhaps in future if the audience is told to have their phones out before entering the theatre, it could help with any inefficiency.
Before voting begins, we are invited to choose the role that the performers are battling it out for, however, only some characters consistently attend to the improvisational demands of this particular element of the show. With more holistic attention given to both addressing this prompt and more precise improvisational comedy, it could make it feel less like a judgemental choice the audience must make and more of a humorous one that is purely based on which characteristics we like, rather than focusing on the weaknesses of an actor’s singing in relation to another actor.
The play is set up with three rounds that are split up by six songs back-to-back, then two, then three more. All the solo performances are impressive, but the ensemble performances take the cake, with harmonies that really elevate many of the voices on stage. Beth McKinnon and Siska Greene grip us with their solos, which marries the necessity of story-telling and brilliant vocals; from McKinnon’s diction and her hilariously timed variation in physicality, tone and tempo, to Greene’s comedic integration of the audience, they are able to break up the performances into their own stories that make the longer first round far easier to appreciate.
With musicals we expect to follow some story, so without this, it can feel overwhelming and perhaps more scripted, comedic improvisation between songs could allow for the audience to reset before hearing another.
Though an intriguing concept, the phone lights during the voting periods make it incredibly distracting as phones are then on throughout the show, with notifications lighting up the screens during singing performances. We also miss some of the filler comedy during the voting as we look at our phones, missing jokes and not hearing others due to a sense that these moments are a little unfinished and unsure. More conviction, planning and less speaking over others could result in more polished improvisation.
The final number is splendid and truly ties up any loose ends of a charming, yet sometimes chaotic, performance into a well-done piece. The live piano playing adds colour to the stage and the involvement of audience members makes this a fun, warm and low-pressure watch which could be just what a lot of us need.
With some more comedic precision and logistical changes, this show has the potential to have great success.
Runs until 10 August 2024
Camden Fringe runs until 25 August 2024
The Reviews Hub Score
Fun Chaos
