A loving ode to musical theatre, the perils of modern dating and embracing queerness is what centres WHY AM I SO SINGLE?
By Hamza Jahanzeb 13.09.24
Photo credit: Danny Kaan
A show about platonic relationships is original for it’s not often we get them on our stage; I’m sure we all recall a best friend with whom any discussion relating to relationships is dissected in the domestic setting of a home. In this new musical – titled WHY AM I SO SINGLE? – from the creators who brought us SIX (Toby Marlow & Lucy Moss, as well as co-direction and choreography by Ellen Kane), prepare to be ready to SWIPE LEFT on the heteronormativity so routinely portrayed on stage. A refreshing look at this element is what makes it a unique Queer-tastic celebration of non-binary finery, and being out, proud and Queer unashamedly. It’s a triumph when it comes to representation (we have a northern accented lead, body positivity on stage in ensemble members and shades of races that makes it feel so wholly and inclusive) but this production is ultimately a half-baked show that’s plagued by flaws namely a lengthy run-time, wafer-thin plot and filler-heavy songs.
Beginning a show with a Greek prologue is a good way to rope in wider mass appeal as opposed to punters who are Six fans, complete with masks and cardboard cut-outs. It brings a centuries-old tradition to the modern day which is quite a nice touch to welcome the audience to their new venture. For a moment, it did also remind me of The Witches (2023) from the National Theatre last year. Meet Oliver and Nancy (no- you’d do anything to definitely re-read that and heap on the fact the unnamed protagonists take on familiar names which seasoned musical). The Wicked reference, which seems shoved in for the sake of ticking off the musicals, was short-lived. Mamma Mia is laughed at, and categorised as a non-musical. Weird to single out that show when there could have been other shows to aim fire at (!). The comedy didn’t land for me at times, but was at its best when Jo Foster was on stage – they play a very funny character, and can do comedy well and impressively. An endearing quality exuded from their characterisation of Oliver.
I’d go as far as saying that this is Marlow and Moss’ ARTPOP moment (for the non-queer or pop-culture aficionados, it’s the half-baked follow-up to Lady Gaga’s Sophomore album
Born This Way) for it has a couple of hits but there’s something not there. It’s a satisfactory (for fans especially) attempt at showcasing diversity on stage and showing their flair for writing good songs (very few are memorable, and especially ‘Just In Case’ could have been shortened), it felt too familiarly contrived. I loved that there are frank discussions of of trans-misogny, as well as the issue gay shame being interrogated “Disco Ball” (which I’m pleased has a neat tie-up at the end).
There’s going to be plenty here for Six fans who will flock and go to see this in their droves, but outside of that the appeal is
wafer-thin like the plot this piece is based on. Kane’s choreography is interesting as times – I appreciated what was happening during ‘Eight dates’ in particular, but the overall direction was taking place on a sofa (domestic setting making it all too relatable), and in a cafe Olive A Twist, nice paying homage. The agent is called ‘Faye Gin,’ so again, the references to musicals just becomes a relentless task to endure.
A special mention for two stand-out performances for me in this piece: Jo Foster (they/them) and Noah Thomas – an underused performer who played the titular role in Jamie. There’s a tap dance number – hats off to the choreographer – where Noah shines as their bi-sexual character. Again, I wish that this point was explored more and not merely a plot device to shovel in some more diversity.
Where this show truly fails to light up the room is the overly long run-time. I guess sticking to what you know best ought to have been what worked for Marlow-Moss duo. They are just so supremely talented in writing songs, but a full book? Less so, I’m afraid. There’s also some bizarre and groan-worthy rhymes at times (a prime example is rhyming ‘eggs’ with ‘ex’), and the stronger (and wittier) moments of writing are in songs such as ‘Eight Dates’. Catchy hooks, and lyrics is what the duo are renowned for for but it sometimes becomes overkill in this show.
Why Am I So Single? does have its moments of creativity (I admired the references to British Hun culture such as the ‘Live Laugh Sob’ on a light up fridge as props are represented by humans as well as some of the choreography). There are some great dance moments, and the sequinned and detail in the costumes is to be marvelled at. Also, I do take my hat off to the lighting team (Jai Morajia) as the show did feel West End-ready in most departments, but not quite in the most central and formative department: lacking a sharp book to give it the foundation to stand on.
Overall, WAISS? left me hungry for trying other dating apps, and for the writing team to go beyond the surface-level nature of the palapa of online dating (such as Tinder, Bumble or Grindr – give me Recon you cowards!).
There was a missed opportunity but that’s not to say it isn’t a fun night out at the theatre. It will please fans of the writers, but will leave a lot to desire from stalwarts of a captivating libretto. I do wish it well, and that the team can allow an organic creation, and one that has a wider appeal that this as they found with Six in any future pieces that didn’t feel like a simple cash-grab riding the wave of a previous success.
If you’re looking for an ultimately silly, fun, camp and show with pockets of charm? Then this is it. Singletons will view their life reflected on stage via the perils of dating online, but for some people who come to the theatre to ‘escape’, this may find be an exhausting and weary watch. Do go if you’ve got the stomach for lots of endless meandering of the same laboured point on why dating can be the (cess) pits. The target audience will be skewed to a younger audience, and whilst I wish it the best, I much preferred Marlow and Moss’ tight-controlled no-interval first offspring.
** N.B. This is an honest review, in exchange for a gifted / complimentary ticket. The reviewer has written this with their own editorial control, with no external influence on how to frame or write about any aspect of this show. #AdvertisementFeature #PRInvite #Gifted #ad **
Booking until 13 February 2025: https://whyamisosingle.com/
Access Information
For Accessibility information please contact Nimax Theatres directly: 0330 333 4815 or access@nimaxtheatres.com
Access Performances
Audio Described – Saturday 21st September 2024 7:30pm
British Sign Language – Friday 18th October 2024 7:30pm
Captioned – Saturday 25th January 2025 2:30pm
Address
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(Nearest tube: Leicester Square/Charing Cross)
2 Charing Cross Rd, Charing Cross, London WC2H 0HH