"I had never known what I was really like until I stopped smoking, by which time there was hell to pay". When Charlotte decides to give up smoking, she doesn’t realise quite how difficult it will be. As she attempts to fill her nicotine-starved days, the events of a troubled past slowly begin to resurface; an abusive ex-boyfriend, a new life in New York, a bizarre roommate and a boss who is a little too hands on. As her emotional debris accumulates, we see Charlotte’s vivid memories juxtaposed against her present day life. But even with her friends trying to help, can this Little Fish learn to survive in a pond as big as New York City? A vibrant musical from one of Broadway’s leading new writers, Little Fish introduces us to a darker New York than that seen in most musicals. Inhabiting the lesser-seen corners of the city, Michael John LaChiusa blends a pulsating, jazzy and resonant score with intelligent and witty lyrics. Combined with a sharply observed book filled with humour, this is a truly modern musical that no one should miss. Performance Length: Approximately 90 minutes
Laura Pitt-Pulford, Lee William-Davis & Julia Worsley
Date: 30 October 2009
Little Fish, receiving its European premiere at the Finborough under the direction of Adam Lenson, is American composer Michael John LaChiusa's reimagining of two short stories by Deborah Eisenberg - Days and Flotsam.
The musical (or 'play with music' as it may more accurately be described) centres on Charlotte, whose aspirations to be a writer run parallel with her aspirations to quit smoking and get fit. This journey takes her from Buffalo to the Big Apple, where she encounters a variety of characters from coke-snorting flatmate Cinder to gay best friend Marco.
Thematically, it closely resembles Adam Gwon’s Ordinary Days, which made its European premiere in the same space last year, also directed by Lenson. But unlike that piece, or Sondheim's Company (another reference point), Little Fish feels musically and narratively indistinct.
The production features several strong performances, notably from Julia Worsley as Charlotte and Lee William-Davis as Marco, but the fragmented plotline, despite occasionally threatening to spark into life, never really does so.
LaChiusa's libretto is packed with convoluted phraseology (even containing the seven-syllable “anaesthesiology” at one point), but lacks heart. When Charlotte finally reaches her epiphany - “I want to eat lunch!” - one cannot help but feel slightly miffed that such musical and lyrical complexity has been spent on such fluff.
There are certainly plus points - not only the performances but Bec Chippendale's innovative (if blandly coloured) set, the tight orchestrations of Richard Bates and Nick Cunningham's playful choreography. Die hard LaChiusa fans may well have a ball, but I was left hot and not very bothered.
Not sure what Theo Bosanquet was on when he saw this exquisite little musical gem. LaChiusa's inventive, witty, ultimately touching piece reminded me in many ways of a modern day Company seen from a female perspective. And the production team here have done him proud. Bec Chippendale's set and Nick Cunningham's choreography are especially impressive.....achieving miracles in a tiny space. Of the uniformly strong cast (all of whom have several West End credits), it seems hardly fair to pick anybody out, but Lara Pitt-Bulford really does look like a star in the making. As for Julia Worsley, in the central role of Charlotte, she is such a superb singer-actress that you wonder why you haven't seen more of her (I remember being impressed with her as Sally Dexter's cover in the Palladium "Oliver!"). Her wonderfully understated, and finally deeply moving performance matches anything I've seen delivered by many more established musical divas. This is a challenging, brave, delightful piece.....and one which anybody who cares about the future of musical theatre on either side of the Atlantic would be ill-advised to miss. - ajh
04 Nov 09
Brave production of an unusual piece. Cast have a brilliant energy, singing & score was stunning, especially for fringe. Fab set, cleverly lit & a great use of the space! Story is entertaining & different (shame the reviewer doesn't appreciate that!). Definitely worth a visit! - Stuart Cubbins
03 Nov 09
Superb production of a very tricky piece.
wonderful performances and beautifully sung. - matthew wilson
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