Review: The Time Traveller’s Wife, at Apollo Theatre
Ironically, it is not The Time Traveller’s Wife, but the producer’s wife who deserves the most credit for the success of this show, for it was Colin Ingram’s spouse (unfortunately not named in the programme) who first conceived of the idea to turn the widely-read novel written by Audrey Niffenegger into musical play format.
What an ingenious insight this has proven to be. With an intelligent revolving set allowing for over twenty scenes to be depicted, careful writing and a brilliant score we follow Henry, the protagonist, move constantly, seamlessly forward and back in time.
With such writers involved, the play doesn’t feel like a typical musical
The music, written by none other than Joss Stone and the Eurythmics’ Dave Stewart is faultlessly performed by the entire cast. It’s terrific. With such writers involved, the play doesn’t feel like a typical musical; the tone (more pop and rock), allows the story and characters’ feelings to be conveyed earnestly, without the expected cheese. Standout moments include a solo by Gomez (played by Tim Mahendran) in a scene representing a good friend’s scepticism upon meeting a boyfriend for the first time; and a duet performance by Henry (David Hunter) and his father (Ross Dawes), beautifully capturing the tenderness and complexity of such relationships.
Coming away, curtains drawn, there could be a temptation to criticise the adaptation for misrepresenting the novel and failing to capture its emotional complexity. But such thoughts would be ill-founded because on the contrary, it ought to be noted as an achievement. This play recognises the theatre as an entirely different art form compared to the novel, and thus recognises the different properties and limitations therein.
It may not have the spectacle or grandeur of other, long-standing West End shows, but that is to its credit.
Overall, The Time Traveller’s Wife - The Musical makes for a wonderful evening out, fit for all the family. It may not have the spectacle or grandeur of other, long-standing West End shows, but that is to its credit. Amongst abundance elsewhere, there is something gently compelling about a play that is modest and clever; about a tale as simple and human as love, lost and longing.
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