You could say Elvis has entered the building . He’s certainly entered the life of Lana, heroine of Martin Lynch’s new musical comedy which arrived at the Grand Opera House this week. Is he real as he pops out of the freezer at one point to enliven her Thursdays and advise her on, uh huh, life or more likely a version of her daddy who’s a devout fan of the King. In fact, the psychology of it is interesting with Lana (effective Orla Gormley) worshipping the father, blaming her mother’s alcoholism for his departure when she was ten. So a female Oedipus…
Add in Miriam Magdalen, played by the peerless Caroline Curran, and you have a kind of Maggie Muff re-run with different lead. Although Miriam’s religious, she has no problems pursuing a lifestyle of bucking, swearing, Prosecco and has bedded half the elders, married or not, of her Church. But Miriam’s chief role is as a foil for struggling Lana who is a single mother – we didn’t hear enough about the daughter, I don’t think - and struggling to make ends meet. The play actually begins with her itemising groceries, contains a sad detail that she can’t, unlike her daughter’s schoolfriends, afford scallops. There is also a hilarious passage on Miriam’s new found hobby, shoplifting, after she has lost her job and income. She literally fills her boots as she fills her basket, trusting Jesus will provide. And Lana tags along.
Yet the slightly bitty narrative moves on, with demos against Cuts, love interest in Carl the socialist, and Miriam’s flirtation with Hare Krishna which inevitably involves an excitable account of nude yoga. The gags were well done. The happy ending unsurprisingly beckoned with Lana following Elvis’ advice to follow her dream and become a singer. The sad passages also stood out, notably her father’s death, but didn’t quite mesh with the storyline overall.
The social conscience, which is present, is lightly sprinkled on the show and maybe some of the best moments come via the incomparable 1960s soundtrack. RESPECT and the King’s greatest hits such as Suspicious Minds. Norman Bowman and Gormley sang well, although Bowman’s voice didn’t quite have the rich timbre we expect. But this is meant to be entertainment and the audience enjoyed the show, especially Elvis’ interaction with the audience and trademark pelvic thrusting. Charlotte Westenra directed with brio.
However, for those of us who are fans of Lynch’s more serious side seen in dramas like Dockers and The Chronicles of Long Kesh, a return to serious stuff might be overdue.
Jane Hardy
