Theatre Review: Rehab The Musical, Neon 194 - A hilarious yet heartfelt delight.
Christian Maynard as Kid Pop, with Company. Image credit: Mark Senior
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It is often said that “From great pain comes great art”, and for good reason – it’s true. And it’s certainly the case with Rehab, now playing a limited run at the new Neon 194 venue. It was Grant Black’s experience in rehab 30 years ago that inspired his collaboration with Murray Lachlan Young. The pair wrote the music and lyrics, and the way those lyrics bounce between tender and touching to outrageously funny – satirical and silly without ever being insensitive – denotes a sincerity and heart that can only be written by someone with experience with the subject matter.
Set in 1999, the story follows Kid Pop, a 26 year old star who gets papped in a sticky situation involving a Class A substance, and subsequently finds himself charged with 60 days in Rehab. We meet the other residents of the facility as well as Kid’s money-grabbing agent Malcolm Stone and his assistant Beth, and spend a little over 2 hours laughing ourselves silly as they navigate unexpected relationships and dynamics.
And laugh you will, because this show is hilarious. It’s high camp, darkly comedic, and has moments that could almost be considered satire. It doesn’t take itself too seriously whilst still handling incredibly serious topics. The comedy is handled masterfully by a fabulously funny cast – Keith Allen as Malcolm Stone is a top class character study of entertainment agents in the 90s. Jodie Steele delights as Malcom’s (better than him in every way) assistant Beth with her quick wit, sarcastic edge, and brilliantly expressive face that’s paired with a quiet vulnerability. John Barr as Barry Bronze, camp as camp can be, was impossible to look away from every time he hit the stage. I could write a little something about every member of the cast, as they all truly had their moments of excellence.
Addiction, misogyny, gender identity, the cruelty of tabloid fame, mental health, and loneliness aren’t subjects that typically lend themselves to comedy, but that’s where the brilliance of this script – penned by Elliot Davis shines through. It uses comedy as a vehicle to dive into the subject matter with great depth, and recognizes that there is humour in almost every situation we find ourselves in. To laugh – especially in our darkest moments – is to be human. It’s our great strength.
The music is an intriguing element, as it cannot be defined by a single genre. They’ve blended numerous styles together – from rock numbers to pop hits, show-stopping R&B/Soul tunes to musical theatre bangers – with a masterful level of cohesion that provides something for every listener on the soundtrack.
I can’t mention the music without also mentioning the voices, and I’d be remiss to start with anyone other than Mica Paris MBE, starring as Martha – the counselor at The Glades Rehab. Let’s be real, if you’re above the age of 25 in the UK, you probably know that Mica Paris can capital “S” Sing – that she’s got more soul than an entire church choir on Easter Sunday. But knowing it and feeling it, having her voice wash over you in the audience? They’re entirely different things. The reaction in that room every time she sang was absolutely electric – she’s an exceptional vocalist and an absolute joy to observe.
Massive kudos are also owed to Maiya Quansah-Breed, starring as Lucy Blake, who matches Mica toe-to-toe with ease in a stunning duet. Their voices meld and soar together in equal measure, giving rise to a truly stunning moment in the show. Maiya is an absolute force across the entire production – her vocals are stunning throughout the array of musical styles she’s tasked to perform.
However it’s Oscar Conlon-Morrey who has the most unexpected performance in the show – what begins as a song assumed to be played for humour, as many numbers in this show are, quickly reveals itself to be perhaps the most delicate and emotionally raw song of the night, his voice filling it with so much power and heart that you’d think he’s got a full choir behind him.
The pacing is punchy – a 2 hour 30 show with an interval – and it feels a bit like you’ve watched a 42 minute sitcom episode of your favorite series, gone to the kitchen to get snacks, and hit play next episode. The staging is understated – only around 7 or 8 set pieces that are moved and transformed throughout – which works perfectly for the space at Neon 194. The use of the space is masterfully executed as well. With the cast entering and exiting through the crowd, and with certain set pieces - such as a telephone on a wall - actually located in the audience, it gives the whole piece an immersive feel without the panic of being pulled into unexpected crowd interaction.
The relationships between the residents of the Glades are filled with undeniable chemistry and humour, and it’s a beautiful example of how if you put people together - even people you think have nothing in common - they will find a way to connect. There is, however, one relationship that feels underdeveloped. Kid Pop and Lucy Blake are the romance within this story, but their romance feels a little rushed, a little lacking. And I get it, when you’re limited by time and multiple story threads that are all essential to the big picture, it’s not easy to give a romance enough time to develop, but unfortunately this did mean that this element fell a little flat for me. I wasn’t given enough meat to really emotionally connect with that element of the story, especially when the found family element with the wider cast of residents is done so beautifully and with such heart.
If you like to laugh; if you like clever, catchy, and comedic songs; if you like lyrics that will pull on your heartstrings and vocals that will knock you off your feet; and if you like stories that will leave you feeling heart warmed and hopeful – then Rehab is an absolute delight, and one you wont want to miss.
Rehab is running at Neon 194 Monday-Saturday until February 17th. Matinees Thursday and Saturday. Tickets available here.