On the face of it, the story is about two friends – heterosexual female ‘Nancy’ (Leesa Tully) and crossdressing homosexual ‘Oliver’ (Jo Foster) – cohabiting and huddling together for warmth, in the face of perennial single-dom. The brilliance of the story-telling is that it brings many different demographics onboard simply by creating – and referencing – recurring motifs that only audience-members of a certain age/ perspective would engage with.
The fact that these constituent blocs include fans of the musical ‘Oliver’, 90s US sitcom Friends’ those millennials who engage with the current zeitgeist of LGBTQ+ rights, Taylor Swift-like lyrical outpouring and the throwing of everything including the kitchen sink at the smallest of problems.
In that respect, writers Toby Marlow and Lucy Moss deserve kudos for having created such a powerful and multi-faceted musical; one that is fun and engaging for more than one type of audience.
Having co-written, Moss gets extra kudos for being able to direct the piece, also. It’s not often that such a superb writer can excel equally in the role of director.
As a result, this production has something – actually, quite a lot – for everyone.
Firstly, the two leads are superb.
Both Tully and Foster are incredibly likeable, as they use what seems to be their natural ‘home counties’ accents whilst singing and speaking.
And what voices!
What’s most notable is the level of vocal talent necessary to perform the musical numbers in this show. Whether fast-paced lyrics, long legatos, emotional story-telling or bridge-defying falsettos, the variety and quality of the singing required by the lead duo is quite astonishing. Their humour and fouth wall breaking likability – especially Foster – is also to be commended.
The dynamic duo have strong support from the rest of the cast – not least, from Noah Thomas, as best friend ‘Artie’; a recurring character who complements the main duo well, while delivering his own sass, pizzazz and vocal excellence.
The remaining 10+ strong ensemble are excellent. Initially presented as ingenious/ hilarious ‘movable props’ (e.g. ‘coat-rack’, ‘fridge’, ‘dust-bin’, ‘sofa-throw’, etc.), they each get the chance to present various characterisations that help bring the stage to life, while delivering excellent vocal and/ or choreographic support.
Although occasionally veering towards the ‘pantomime’, the standard of the main performances and the songwriting/ arranging meant that the ‘West End effect’ was maintained, in respect to quality.
Musical Director Chris Ma – alongside Assistant Musical Director Nick Pinchbeck – arrange the varied ‘90s/ 2000s Pop’ referencing original song listing expertly; shading the numbers with sufficient subtlety to ensure they avoid sounding either formulaic or emotionally staid.
Similarly, Orchestrator, Vocal Arranger and Musical Supervisor Joe Beighton deserves a shout out, as do Co-Director and Choreographer Ellen Kane for excellent movement and ‘business’ staging.
Set Designer Moi Tran and Costume Designer Max Johns also require singling out, for their ingenious set/ costume work.
This musical tells a relatively small, intimate little tale and ‘amps it up to 11’… superbly well. It is fun, engaging and eminently relatable – who could ask for anything more?
Need to know: Why I So Single plays at the Garrick Theatre until 13 Feb 2025
