REVIEW - Dressing Rooms, Louth Riverhead Theatre, Friday 27th June 2025 - **
- theatrereviews
- Jun 28
- 4 min read
Updated: Jun 28
Jed Spittle’s sprawling production points to not only bigger, but better, things. This is a fairly novel, and potentially very gripping, idea - a twist on the “play within a play” set-up, tied together with a somewhat contemporary social backdrop, performed through a Sondheim-esque score. However - and while I fully accept that this is a work-in-progress - there were quite a few uninspiring and obsolete scenes.
Focussing on the positives, Spittle is truly commendable for what he has achieved here. Joining the cast somewhat hesitantly, he matches the incredible talents of all the other performers. His portrayal is one the production's strongest points, with each solo striking a nerve with the audience; he is richly deserving of each applause. He plays Bill, a successful West End theatre producer, prone to gambles but then, as Bill states in his opening duet: “It’s all about the game”, and “it’s all about the price.” Bill has recently married Clare (Sophie Brown), a talented starlet who the industry suspects of beginning a relationship with the older man to aid her flourishing career. This plan (if indeed it was the plan, something which is never satisfactorily cleared up) backfires when Clare has “her role” usurped by the latest reality star. However, the reality star drops out of the production under somewhat nefarious means (again, something that isn’t properly explored or explained). Are we meant to side with Clare? At this point, it’s pretty hard to…
This is not to take away from Brown’s performance. Arguably having the most difficult role, she takes the character of Clare to a satisfying conclusion. Her powerful voice and emotional charge is astounding; it’s a believable, rounded performance.
It's more unclear when contemplating the function and significance of Tasha Connor’s character. As Clare’s supportive co-performer, Alex Graham, she strikes up an (unconvincing) love affair with Clare when things turn sour between Clare and Bill. Connor is a brilliant vocalist, but the relationship never truly comes across as engaging or deeply problematic. The drama has been sapped out of it somewhat, with Graham virtually written out of the second act.
Spittle’s script meanders along, with many supposedly dramatic chunks happening off-stage, and referred to through a series of zoom calls, newspaper cuttings, and idle tittle-tattle, with some examples coming off as the slightest of filler until the next song. The songs, however, showcase Spittle’s real talent – that of lyricist and composer. Many numbers demonstrate not only a great understanding and respect of Musical Theatre, but also a neat and subtle freshening up of traits that are slowly becoming staid, and well-trodden, in the industry writ large. There are perhaps one too many ballads on offer here, but Spittle demonstrates a variety of moods and tempos that do actively zip the story along.
Lighter moments are dutifully fulfilled by Louise Ray and Gary Starkie, playing the roles of Clare’s parents. Sheila, although not quite the harridan we’re braced for (Clare likens her to Mama Rose from Sondheim’s Gypsy before Sheila makes her first entrance), is a formidable presence, and Ray makes her totally likeable, a breath of fresh air from the cynicism and betrayal at play from the remaining characters. It’s an assured, enjoyable performance from Ray, matched with a genuine sweetness from her doting, romantic husband, Ted. Starkie, playing a complete contrast against the villainous Abanazar in Riverhead Rep's Aladdin, brings a depth and resonance to the play. Together, they share a couple of standout, and particularly playful, duets.
The directing is rather pedestrian at times, but then again, this is an early viewing. Lighting, too, was often stark and unflattering, which was curious: when looking up into the rig, I saw a range of lanterns and lamps - the envy of quite a few local theatres I daresay - just not being utilised for whatever reason.
There are catchy numbers throughout (“About Bill”, “Unprecedented Times”, “Kids of Today” and the showstopping “Who Are You / Walkaway / Fly” to name a few), and the performances carry the show through its more stagnant moments. This award-winning play of the 2024 Scratch Night competition (held in the very same room some nine months previous), has some severe structural issues, but the music should definitely be heard again, and again.
When it comes to local theatres, new writing is a rare thing. A new musical, well, that's practically unheard of. 'Dressing Rooms' deserves to have a longer life (at the end of tonight's performance, Spittle mentioned that there are further plans for the production), however, under its current guise, it may leave the audience expecting more.
'Dressing Rooms' is being performed at Louth Riverhead Theatre on Saturday 28th June, at 7.30pm. There are a limited number of tickets remaining, and can be purchased via the link below:
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