Story & Lyrics: Isla Cowan
Music, Lyrics & Arrangements: Andy McGregor
Directors: Isla Cowan & Andy McGregor
Choreographer: Chris Stuart Wilson
Musical Director: Alan Penman
Sound Design: Fraser Milroy
Dramaturg: Debbie Hannan
A new musical about the proposed, controversial disposal of oil company Shell’s Brent Spar oil storage facility in 1995 has inspired Glasgow theatre company Sleeping Warrior’s latest musical.
The demise of the giant, rusting, yellow monolith rising 135 meters above the North Sea sparked a global media storm, prompting both public and political protest that included the boycotting of Shell petrol stations, physical assaults, and an arson attack against Shell in Germany.
In light of the global wave of negative publicity Shell was forced to abandon its plans. In reality, neither side emerged unscathed. Greenpeace themselves, the heroes of the story, overstating their claims of the harm the disposal would cause. To its credit, To Save The Sea presents both sides of the story, with, of course, one side of the story emerging rather more triumphant than the other.
Creators Isla Cowan and Andy McGregor have chosen the infamous three week occupation by protesters in Scotland as their focus, and the personal stories of the brave souls who sailed over the rocky waves to save the North Sea. Very much a story of “ordinary people doing extraordinary things” it is a celebration of the human spirit and an old fashioned story of the triumph of good over evil. Arguably, a story perfect for these troubling times.
The action gallops along at a brisk pace, the serious message to be delivered as well as the humour, perfectly balanced. It swings from riotous humour and staging (the John Major scenes a triumph) to plucking the heart strings in Rachel’s (Kara Swinney) big ballad. There’s plenty of fire and rousing fury throughout. It also cleverly weaves the factual information and political message into the piece without preaching.
To Save The Sea is a perfect coming together of its parts. Claire Halleran’s multi-layered set is a triumph. In such a confined playing space it looks majestic. Chris Stuart Wilson’s inventive choreography is dynamic and provides plenty of interest to the eye.
While the characters are undoubtedly stereotypes, each is sufficiently well-drawn for us to make a connection. That it manages this in a spare 90 minutes, is laudable. The script largely manages to avoid slipping into cliches and the music is hands down the best of any Sleeping Warrior production to date.
Musical theatre-lovers will see the work wears its influences on its sleeve, with scenes including the Shell executives giving a nod to Chicago and the Herod scene in Jesus Christ Superstar.
The cast are magnificent, in particular Kara Swinney as quiet mother Rachel who walks out of her front door unannounced one day and into a boat across one of the roughest seas in the world to save the planet and Matthew McKenna as German activist Karl who gets to showcase his glorious vocals in the soaring score.
Sleeping Warrior have managed to tap into the current appetite for more human stories, for pieces of work that make a connection. On paper it may seem like a small scale production but in reality it is a huge story told on a grand scale, with vision and ambition. It deserves to be seen by as wide an audience as possible. Hopefully it will have a life well beyond this national tour. A triumph.
Runs until 28 September 2024 then touring | Image:Mihaela Bodlovic
The Reviews Hub Score
A triumph
