Sin, the Musical

Deadlier

Sin, the Musical

by John-Michael Mahoney

Dmii Productions at The Studio, Other Palace Theatre, Victoria until 4^th August  

Review by Vince Francis

Well, time flies, doesn’t it?  Around a year ago, I reviewed Sin – the Musical at the Arcola in Dalston at its premiere.  I summarised the show as having potential overall, but in need of attention on a couple of production points.  I was therefore surprised and delighted to be asked to have another look at it following its transfer to the Other Palace. 

I was unable to get to the press night, but I’m pleased to be able to report that the show was well received by a supportive audience on the night I was able to attend.  I’m also pleased to be able to report that one of my biggest concerns from the original show has been addressed head-on and I’ll get to that in a minute.

The synopsis on the website indicates that the show explores what happens when a large sum of money is unexpectedly injected in to a small, close-knit group of petty criminals in the New York of the 1920s.  In so doing, it uses the key characters to provide manifestations of the seven deadly sins. 

The score is largely contemporary stage musical in style with some jazz influences and it works well in the context of the show.  There have been a couple of cast changes since I saw it last year, with Camile Reid taking over from Emily Rose-Tucker as Grace, and Harry Osborne taking John-Michael’s place as Michael.  Both have slotted in seamlessly and have brought some of their own style to the respective roles. 

So:  reasons to be cheerful.  On my first visit, my chief criticism was that the cast was not mic’d and the band consisted of amplified instruments, so the lyrics were largely lost.  Not so on this visit, and writer John Michael Mahoney’s skill as a lyricist can now be enjoyed.  For me, some of the best examples were to be found in the smaller ensembles, for example the quartet of Sarah (Taylor Quinell), Grace (Camile Reid), Sam (Houston McDowall) and Jack (Charlie Toland) in what I think is called Love is Love in Act One, weaves strands of conversation quite skilfully, as does the duet between Ross (Thomas Stansfield) and Sam leading into the Act One finale.  Some good solo work, too; Otto’s (Renan Teodoro) lament caught the audience’s sympathy, as did Sarah’s confessional in Act Two, whilst the show-down duet between Michael (Harry Osborne) and Jack in Act Two was almost operatic in its intensity.

I would also just note the skill of the sound desk in keeping things under control.  The piece requires some volume and, at times, a fair dollop of bass frequencies to the fore.  In a small space like the Other Palace Studio, managing that can be challenging, but was managed deftly in this case.  Also, it seemed to me that Musical Director Angelo Deller-Tsocos benefitted from having the cast both in sight and earshot and was thus able to keep the band at sympathetic levels to both cast and action.

It is clear that the company have taken time to delve into their characters and the various relationships, which brings the bonus of more three-dimensional and inter-connected portrayal.  There is a real “team” feel about it, which supports and reinforces the exchanges, particularly where the script requires some tough, aggressive, or vulnerable expositions.  One facet which became apparent to me – and I don’t know if this is a change, or if I missed it on the original – is Ross’s slide into psychosis, which evolves subtly throughout the piece.

The dynamic between Jack, Michael and Sam is much clearer and Sam’s conflict between his friend, Jack and his brother, Michael has a lot more light and shade.  Harry Osborne’s interpretation of Michael is a little more openly angry and aggressive than the original but doesn’t lose the quality of vision which I noted and is equally valid.  Similarly, the characters of and relationship between Danni (Lucy Lombard) and Macie (Gabby Coleman) now has the substance and clarity that I felt was a bit light on first viewing.

In terms of criticism, my key observation is summed up in Whoopi Goldberg’s story of Mike Nichols watching her one-woman show and interrupting with the question, “Did you hear the end?”, to which she replies that she hasn’t finished yet, which draws the gentle riposte “I did, it was seven minutes ago.”.  Nichols’ intent was to draw attention to the need for a writer or performer to listen to themselves and hear their work from an audience perspective, a suggestion which Goldberg took on board wholesale.  In the context of this piece, I think that analysis might usefully be applied to the second act, where the resolution of each individual storyline in detail started to feel a little laboured.  I could hear some of the audience getting a little twitchy and the couple on my right had to leave to catch a train.  That wasn’t helped by the eight o’clock start, but it is quite a long show and I’m aware that another reviewer picked up on that first time around.

However, my thanks to Jean-Michael for taking previous comments in the spirit they were intended.  This is a decent show, and I will be interested to see what happens next.

Vince Francis, August 2023

Photography courtesy of Dmii