Review: Theo In Between, Leeds Carriageworks Theatre

Adolescence is a notoriously turbulent time, hence why so many musicals draw on this ‘coming of age’ period in an individual’s life. Even more difficult for a young person is when they are questioning their gender, which Theo In Between, a new musical created by British Youth Music Theatre, seeks to explore.

Theo is a young person who is juggling the pressures of being nominated as the town’s first ever Fall King for the annual Harvest Festival, the absence of their father, and what it means to be a ‘man’. The plot is heavily influenced by Benjamin Britten’s Albert Herring along with references to The Wizard of Oz, but for any audience member without a solid knowledge of musical theatre and opera, these themes would likely pass them by and confuse them.

The story ultimately lacks focus and does not thoroughly explore Theo’s inner struggle with gender identity. Throughout the show, Theo wants to find their father, who they believe is the best person to tell them what it means to be a ‘man’, which feels like a perfect opportunity to discuss the discomfort inherent in the experience of being misgendered and feeling ‘in between’, but it is never explored. When Theo finally meets their dad – supposedly a revelation for our protagonist – the moment feels hollow, failing to provide either a heartfelt reconciliation between the two characters or a triumphant rejection of the need for outside validation.

The musical score feels familiar; composer and musical director Jordan Li-Smith has clearly been influenced by musical theatre giants of the past and the songs have potential. The ensemble are generally strong as a unit, but at this performance there were quite a few weak solo lines with some pitch issues. Eleni Chivers as Theo is a strong lead and Millie Flannery gives a confident and assured performance as Rachel, Theo’s friend and mentor as the previous Fall Queen. Graysen Oakes as Mum has a beautiful tone to their voice – their solo number is the highlight of the musical numbers.

Props are used creatively during the show. A hula hoop with a curtain becomes a window during a scene where Rachel and her boyfriend argue outside the parish council committee meeting. Trolleys provide a means of transport for characters, which is entertaining. I also enjoyed the incorporation of a mirror at the end of the performance, through which Theo observes themselves with their back to the audience, but with their facial expressions visible.

Although offering some positive aspects in the performance, the show inadequately showcases the intricacies of the non-binary perspective of gender exploration and discovery and is too abstract for a mainstream audience. However, if the script were tightened up and focused to ensure its message was clear and coherent, this production might have potential.

Book and Lyrics by: Gareth Mattey
Music and Lyrics by: Jordan Li-Smith
Directed by: Dean Johnson
Choreography by: Lucie Raine

Theo In Between has finished its run at Leeds Carriageworks Theatre.