Our House

Our House follows a trend in modern musicals: take the songs of a popular artist or group and wield a story around them. Some have proven successful, including Mamma Mia! (using ABBA's songs) and We Will Rock You (Queen). Others, using such artists like Rod Stewart, Bob Dylan and Brian Wilson, have been mitigated disasters.

Our House balances on a moderate footing. Using the Madness songbook, the musical is a mediocre success that stumbles as frequently as it triumphs. It offers a solid story and dramatic purpose for each of the musical numbers, but it feels forced and isn't as original as the production seems to think it is.

On his 16th birthday, out to impress dream girl Sarah, Joe breaks into a vacant flat. The police arrive, sending him into a moral dilemma: run or surrender. The musical then follows Joe through alternate realities, exposing the aftermath that either option brings. Good Joe (the one who surrendered), dressed in white, hits hard times after serving a stint in a correctional facility; Bad Joe (the runner), dressed in black, succeeds in business by exploiting his dubious connections and choices.

Writer Tim Firth seems convinced his script is original. In reality it's a little too familiar. And for a story consumed with the theme of "choices", neither version of Joe is faced with any pertinent decision-making; both fates are sealed at the beginning. There is no question that Good Joe will win out and that Bad Joe will pay a heavy price. This makes emotional investment in Joe or the people he knows difficult. Still, the story contains some entertaining moments, and Firth uses the songs to highlight characters and their situations rather than gratuitously, most of which work well.

The cast are, for the most part, effective. Chris Carswell, making his professional debut, is fantastic in the complicated role of Joe. It's easy to like both versions of his character, and there's never a point where it is unclear which version he's playing. Equally great are Miria Parvin, serving in the pivotal role of Sarah, and Sam Mackay, who plays thug Reecey and sings Baggy Trousers, the production's showstopper. Steve Brookstein as Joe's Dad, however, doesn't measure up. Acting both as the musical's driving narrator and social commentator, his weakness drags the narrative down whenever he's onstage which, unfortunately, is frequently.

Director Matthew Warchus has concocted some effective visuals and clever staging, many of which delight with their playfulness. Sadly, on the night this was reviewed, the technical aspects hampered enjoyment. Elaborate set pieces, such as doors, a car and a boat, had trouble being moved on and offstage and proved to be more of a distraction. Problems with wandering and fading lights made seeing the cast difficult at times, and the band drowned most of the lyrics out, making many of the songs garbled. Also, the repeated motif of black and white doors quickly became didactic.

With its energetic staging, good-natured approach and mostly appealing cast, the production desperately wants to be liked and, somewhat, succeeds. However, with an overly-complicated yet shallow book, weak key cast members and technical hiccups, Our House is mostly an adequate production that works better in parts than as a whole.