Review: LOVE QUIRKS, The Other Palace
Photo credit: Anna Clare Photography
Love Quirks first found success following a pre-pandemic off-Broadway run for which it received four 2021 Broadway World Off-Broadway Awards, including Best Production of a Musical, Best New Score of a Musical, Best New Book of a Musical, and Best Direction of a Musical. The making of Love Quirks is a story of underdog perseverance, and we are backing it 100%.
The show stars a small cast of four friends, notably split into two pairings, one unrequited, one undefined. It is a story that unfolds the contortion of trying to find safety by hiding from ourselves, taking us through the break ups and break throughs, shining a light on the stark difference between the jump in and the stumble out, between having history and having a future; in short, the beautiful chaos of matters of the heart.
It all starts in a state of ‘ending-turned-beginning’ as we meet Chris – engagement and heart, broken – looking for a new start across the pond from his roots in New York City (much like the show itself), and Ryan preparing to move out and head into the next big step of what feels like a whirlwind romance, and as one door closes, he leaves it open for an old friend, and Chris moves in, to face the shaken eyes of, new roommates, Lili and Stephanie.
Bob Sterrett and Oliver McNally create an inviting world of an intimate slumber-party feel through clever use of space and impactful lighting design, an experience elevated in the excellent chemistry of the cast. This stands the platform for an instinctive, raw release of emotion broken up by humour and perfectly curated awkwardness.
We see epic vocal from Ayesha Patel, Clodagh Greene and Tom Newland but the highlights of the show appear when everyone comes together in their stunning four-part harmony. It is a show that clearly plays into some stereotypical character outlines with creative relationship dynamics, predictability at some times their superpower and at others their downfall. The mind hovers over labels of immaturity, not in content but in context, writing at times feeling underdeveloped, as we watch this infant of a musical take its first steps. However, as the production progresses the label does not stick but hangs loose, conjuring the question – are we simply a little too underexposed to such pieces compared to the US and Broadway theatre experience of Falsettos and the like? Perhaps it is time for more?
Tom Newland’s portrayal of, certified story ‘heart-throb’, Chris, is instantly compelling, his chemistry with his cast mates practically tangible. Impressive projection and a rich, charming vocal sees him bring a feel of classical theatrics to this adventure in modern musicals. It is a wonder to find out that these are still the early stages of his professional stage career as visions of the next Jamie Muscato fall before our eyes.
The female leads of the production make strides in proving their performance prowess. Ayesha Patel plays Lili with impactful presence and power while Clodagh Greene tackles Stephanie with a raw, bubbling vulnerability. Where Patel’s secret weapon is her comedic timing and delivery, Greene excels in the emotional as we see the story of a scorned woman who sat in that hell long enough to embrace the fire. A gleaming character arc that is particularly reflected in excellent wardrobe design by Alice McNicholas – from old fashioned to modern, unearthing the youth she threw away.
Countering Steph’s experience dancing on the lines between flirty, quirky, soft and innocent, Ryan is a character that has perhaps too many boundaries, boxed in as he is by a foundation of queer stereotypes. As such it takes a little longer for the dimensions of Ryan to develop. Having said that, Lewis Bear Brown does brilliantly in pushing against his own four walls, shining in the in-between moments with bright charisma and humour, reaching a standout solo moment in his performance of ‘Um, Yeah…’
When we got the chance to speak to Lewis Bear Brown about the show just last month, the performer and TikTok star hinted that the songbook comes across with a certain Sondheim or Jason Robert Brown-like nature, and we can absolutely see why, as clear ties jolt our mind back to The Last Five Years. Love Quirks sees music swell as the heart does, used to express the things that need a little extra courage to say, whether to themselves or to the object of their affections. Highlights of grounded, realist lyrics and pockets of great pace and rhythm in the script sweep us off our feet, even if the landings aren’t always so smooth.
The production features some remarkable character songs that we hope to see more musical theatre performers get their hands on soon. In fact, it is easy to imagine the leaps and bounds this show could make on a much bigger scale. A staging full of relatable comedy at the same level as the conventional love story sees a refreshing opening to the playground of performance. As Lewis Bear Brown said in our recent interview, “real life is funnier than fiction”. Love Quirks is a show packed with personality. The way individual stories are interwoven so excellently into moments like musical tapestries is an appreciated sign of a steadfast concept and well-wielded storyteller’s toolbox. Offie-nominated director of stage and screen, Cecilie Fray, effortlessly balances the themes and aims of the show to shining success.
It is a show of definite Why Am I So Single? vibes. With stylistic high notes of enhanced sitcom and low notes of romcom, the biggest laughs come from some of the simplest gags, drawing from you a laugh you don’t recognise, something deeper. It hits your ear with a surprise that persists only momentarily, swept away in the atmosphere of the room, the show itself an embrace and whispered reminder to own imperfection for the pursuit of joy.
From hearing sparks to booms of laughter and applause, to audience members compelled to sing the original songs of Seth Bisen-Hersh to themselves as the lights come up for intermission, it was clear the show was well received. Of all the expectations we could have listed before our night at the theatre – casual, easy, colourful, sexy, inclusive, uplifting, artistic, creative, complex, realistic – all boxes stand ticked by the final bow. Honestly, this is a show we would really hate to see disappear. A pursuit of truths laid bare and a UK stage premiere that stands a sign of exciting development.
**** Four stars
Reviewed by: Louisa Clarke
Love Quirks plays at The Other Palace in London until 12 October, with tickets available here.
