Writer: Jonathan Hogue
Director: Ellis Kerkhoven
Perfectly timed for the night after the now critically acclaimed premiere of the Stranger Things musical in the West End, the return of parody Stranger Sings proves a clever companion piece with just the right tone of affectionate mockery to motor this two-hour performance. Based on the first season of the Netflix fantasy drama, writer Jonathan Hogue has done a fine job compressing eight episodes of television into a film-length narrative, poking fun at the 1980s while revelling in the nostalgic joy of it all.
When puppet child Will goes missing from the uneventful town of Hawkins, a group of pre-teen friends decides to look for him in the woods where they meet escaped patient Jane whom they call Eleven. With a number of people drawn into the mystery including Will’s mum, the local policeman and some older teenagers who are more interested in themselves than anyone else, some strange things begin to happen.
The key to the success of Stranger Sings is balancing the direct parody with creating genuine investment in the characters that draw the audience more completely into the story, preventing it from coasting along on a few knowing references and some funny accents. Instead, Hogue’s show smartly manages the material to build a genuine central mystery around Will’s disappearance and the various emotional entanglements among the cast, using that to frame the comedy moments.
And there are many to choose from. One of the best strands includes meta songs and jokes about the cliched nature of the characters, particularly frumpy teenager Barb who gets a glorious moment of recognition later in the show that openly questions her role as a plot device. Will’s mum Joyce steps out of herself to play Winona Ryder complaining that the local policeman character beat her to an Emmy nomination despite having a single facial expression and then enjoys a fantasy sequence that unites her with co-stars from films including Edward Scissorhands and Heathers,.
Somehow Hogue keeps the wildness of Stranger Sings in line, mashing together the light-hearted songs that still provide narrative and character development, as well as a large cast of subplots, fantasy creations and classic teen angst. Lucinda Lawrence choreographs some great set piece numbers, many involving multiple costume changes (created by Ellie Farrow) and lots of big chorus line-like shapes in a small space without ever looking cramped.
In fact, director Ellis Kerkhoven, maintains the intimacy of the overall story well, despite the many different elements to marshal, including flashback scenes, domestic and exterior changes, and the transition to another world, all while directing a cast playing at least two if not ten roles each. Philippa Leadbetter all but steals the show as Barb whose coming-of-age journey is hilarious, Anna Amelia mixes a great vocal and solo dance talent as Eleven and local beauty Nancy, while Alfie Doohan stands out as both the coolest guy in school and the dorkiest, as well as a mad scientist.
The doubling up leaves a couple of loose threads however, the show’s big finale with all cast members on stage means that not all characters can be represented in it and the audience never finds out what happens to at least one major player from the early part of Stranger Sings. But Hogue’s show is a hoot, a cunning pastiche that hits just the right note.
Runs until 6 January 2024
The Reviews Hub Score:
Cunning pastiche
