On a night when another of the summer’s heatwaves was still in full sway, the auditorium of this pub theatre saw temperatures soar even higher as a packed house witnessed a piece of musical theatre that will surely become a cult classic.
With a book by Dax Wiley and music from Kit Nolan, the show began life some three years back with the concept that New York and Nashville make up a pretty good double act in terms of theatre and country music. Put these two ingredients together and sprinkle some stardust in the form of a fabulous cast and musical team, and the resultant chemistry has all the ingredients to make an impact on the West End and Broadway.
Fresh from performances at the New York and Edinburgh fringes, the American cast of four threw themselves body and soul into an exhilarating evening’s entertainment. The audience had already witnessed a stunning performance in the bar by singer Kerry O’Dowd, whose set of her own originals and a few covers such as Gretchen Wilson’s Here For The Party and The Chicks’ Cowboy Take Me Away went down a treat with a very knowledgeable press night crowd. Bursting with enthusiasm, Kerry exuded good cheer and was expertly accompanied on acoustic guitar by Matt Piper as she demonstrated just what can be achieved with a stripped-down format and a barrel-load of talent.
So as we climbed the stairs to the theatre, we were well-primed for the tour de force that was about to hit the stage. Four single microphone stands made up the set, along with a wooden cabinet that served as a bar. The six members of the band were positioned along two sides of the room, the audience in three rows of benched seating along the opposing sides. A solitary door served for most entrances and exits, an exception being when bartender Ray at one point comically appeared from what must have been an uncomfortable crouching position behind the bar.
With such limitations of space, the choreography involved had to be spot-on, and it was. The team responsible for movement deserves the highest praise for devising dizzying ways of shifting the cast from one microphone stand to another, always taking the mics from their clips and replacing them with barely a glance.
Where to begin in describing the plot? Ex-lovers meet in a bar – Zelda’s a waitress who wants to write for the New York Times, and did so until she was fired; Teddy’s a wannabe country singer. So far, so La La Land, but she’s being supported financially by her father, and Teddy’s a little resentful, delivering one of the show’s many memorable songs, Daddy’s Little Girl. Mention of the multiple-Oscar-winning film is a reminder that Ryan Gosling and Emma Stone started somewhere just like this, and it would in no way surprise if all four cast members were to hit such heights.
As the plot swings away from the predictable, Oil & Whiskey becomes a very modern take on Shakespeare’s observation that “The course of true love never did run smooth”. Juliet Perel as Zelda and Cornelius Versa as Teddy make up the two ex-lovers, and both deliver consummate vocal and dramatic performances, while Sarah Giulianti plays Zelda’s friend Bree with artistry and humour. Acting as a kind of chorus to the action, KJ Nugin gives an outstanding performance as bartender and homespun philosopher Ray. See it while you can.
