A new musical based on the aftermath of the Ipswich prostitute murders of 2006 sounds, at the very least, in bad taste. Yet this inventive, ground-breaking collaboration is the polar opposite of that; enlightening, touching, thought-provoking and enthralling.
London Road does not concern itself with the gory ins and outs of the killings, instead focusing on the effect they have on the wider community, in particular the unlucky residents of the title street – where the prostitutes touted for business and the killer lived – and how they transformed their home from an unofficial red light district to a thriving community complete with its own gardening competition.
What is so intriguing and original about the musical, is that it is created from interviews collected by writer and verbatim theatre specialist Alecky Blythe. Any sensationalism that could have been driven into the story is stopped at the garden gate by using real words from real people. A soaring ballad in such a situation would be as out of place as a palm tree in a hanging basket. Instead composer Adam Cork has taken key phrases from the dialogue and built songs around them, with rhythm, tone and repetition more important than rhyme.
If it sounds convoluted, it never feels it. In fact, the overwhelming feeling is one of genuine reality and truth. We see the situation unfolding from all angles; from the reporters sent to cover the case, Christmas shoppers, the remaining prostitutes and, of course, the residents, who become the characters to whom we feel closest.
The ever-striking Kate Fleetwood visibly shrinks to play the cardigan-wearing leading light of the community who exudes an unassuming warmth for the majority of the play. Hal Fowler and Clare Burt too, stick in the mind as a couple put under remarkable strain, first humorously then painfully, by the unfolding situation. Yet these are just a couple of performances from an excellent ensemble cast; the prize-winning roses in an exceptional garden.
Director Rufus Norris and Designer Katrina Lindsay create the magical effect of making an often intricate staging look remarkably simple, using little in the way of structural set but a perfectly selected array of props.
Following the West End opening of Betty Blue Eyes last night, the National Theatre could not have offered a more contrasting musical. But this story of a community growing and blooming in the face of adversity deserves to be London’s second musical hit in two days.
MA