Fury and Elysium proves to be a mix of highs and lows, leaving the audience both entertained but slightly perplexed.Summary
Rating
Ok
Nestled beneath the main space of The Other Palace in Victoria, lies a hidden studio theatre, currently hosting Fury and Elysium in its intimate setting. The production depicts the vibrant icons of Weimar Berlin, encapsulating the essence of an era that exuded both hedonism and despair.
Yet, whilst the show aspires to capture the essence of this particular period in time, it struggles to define a clear purpose. As one line in the production aptly states, “It’s about everything and nothing.” This lack of direction and coherence inhibits the overall impact of the musical, emphasising the need for refinement.
The three piece band plays on the small stage, with catchy music written by Calista Kazuko Georget reverberating around the studio. Throughout the show, the steady beat of drums provides a marching rhythm, propelling the songs and dialogue forward and maintaining a vibrant pace. This ensures the energy never fades, even during the production’s moments of uncertainty.
Given the constraints of the small stage, showcasing complex choreography proves challenging. However, one particular sequence stands out. During the brothel scene, the cast mimic puppet-like movements to implicate that they are being controlled by customers, but then they swiftly change to enthusiastically dance around Madam Kitty (Danielle Steers) in a hypnotic fashion. Steers provides a humorous and sarcastic performance singing about sex, whilst the cast’s dancing adds an extra layer of energy. It is evident that this number would truly shine on a larger stage.
Another notable moment is when Michal Horowicz, portraying socialist Rosa Luxemburg, climbs on a stepladder and sings a rousing and moving ballad. As the actors do not use mics during the show, this moment was (literally) amplified.
However, whenever the cast sit down on the floor there is an unfortunate visibility issue for much of the audience. This is particularly disappointing during a sweet moment between Claire Waldoff (Ashley Goh) and Valeska Gert (Rosie Yadid). While the dialogue is audible, the inability to see the scene detracts from its impact.
Costuming in Fury and Elysium follows a minimalistic approach: plain black clothing with colourful writing sewn on the back, indicating the characters’ titles. While this complements the simplicity of the stage props and set design, it is challenging to keep up with the characters as they change roles as there is a lack of visual indicator to distinguish who is who.
The lighting, designed by Laurel Marks, leaves a lasting impression, particularly in the climactic gunshot scene. The spectacular effects jolt the senses and enhance the visual impact, serving as a highlight of the show.
The standout vocal performance came from the understudy/ swing, Charlotte Clitherow who sang from book. Despite the circumstances surrounding her sudden involvement (Iz Hesketh was unwell on press night) Clitherow’s voice is impressive, demonstrating exceptional talent.
Fury and Elysium provides a glimpse into the vibrant icons of Weimar Berlin, albeit with plenty of room for improvement. The small stage poses challenges in terms of visibility and choreography that need addressing. The lack of a cohesive plot leaves the production searching for a more defined purpose. However, the noteworthy moments do manage to leave a lasting impression. With further refinement, this production still has the potential to truly captivate audiences and immerse them in the essence of Weimar Berlin’s tumultuous world.
Written by: Stephanie Martin
Music and lyrics by: Calista Kazuko Georget
Directed by: Rafaella Marcus and Karoline Gable
Lighting designed by: Laurel Marks
Fury and Elysium plays at The Other Palace until 18 June. Further information and bookings can be found here.