★★★

Venue: New Alexandra Theatre, Birmingham

Production Run: Mon 13 - Sat 18 March 2017

Performance Reviewed: Tue 14 March (Press Night)

The Commitments is a show that busies itself with ideas. Based on Roddy Doyle’s novel of the same name (the first in a trilogy, in fact) and the subsequent BAFTA-winning 1991 film adaptation, it’s something of a musical theatre curio. It isn’t based on any real life events, and mercifully carries no self-satisfied whiff of autobiography, and yet, in following a completely fictional formation of a working-class soul band in Dublin in the mid 1980’s, it strangely lacks in narrative.

After a slightly plodding build in which likeable young Jimmy (Andrew Linnie) pulls his band of misfits together from various waifs and strays in the community, The Commitments seems to spend a lot of its time on-stage spinning wheels. The same, simple narrative beats are rolled out with almost conveyer belt repetition. Billy the drummer (John Currivan) is hot headed and threatens to quit. Postulant brass man Joey ‘the lips’ (Alex McMorran) is a randy older fella getting cosy with one of the younger ‘Commitment-ettes’. And we get the measure of the unreliable, cocksure yet vocally talented Deco (Brian Gilligan) the first time he shows up to a gig late, ambling and unapologetic. We don’t need to see it a further three or four times.

It’s the biggest problem in a generally enjoyable whole - The Commitments doesn’t really go anywhere. There’s a lot to be said for the intimacy, restraint and focus of the piece - where similar conceptual shows such as 20th Century Boy and Tonight’s The Night whizz through decades and major life happenings in the blink of an eye, the entire raison d’être of The Commitments is admirably more subdued. But for a show that is all about the highs, lows, trials and tribulations of its titular group, the narrative stakes and emotional peaks never really get raised enough to care. At one point, the self-centred Deco causes friction by announcing a solo audition for the Eurovision Song Contest without his band, the musical theatre fan in me sniffing out a finale set piece that simply never materialised. It’s a concept and idea which, like the story as a whole, simply fizzles out.

Yes, it’s kind of the whole point of the show, but it’s hard not to shake the feeling it’s an approach that works better on the page or film than it does on stage.

Thankfully, despite the dearth of story, and a large proportion of the band themselves being fairly cookie-cutter characters, there’s plenty to see and enjoy here. Some may balk at the very idea of a group of white, working-class Dubliners preaching about Soul music, but the cast sell the unlikely fusion well. In fact, it’s a shame they aren’t given more to work with, really, as the casting here is solid, and all involved do great work. Particularly enjoyable is watching the gradual progression and evolution of the ‘band’ over the course of the show, from more bare-basics, karaoke-esque turns that gradually morph into full-scale musical production numbers. It’s a subtle graduation, but a neat and well-charted one.

Brian Gilligan ramps his Jagger swagger up to eleven and almost seems to border on being the Jack Sparrow of white soul in a wonderfully unabashed performance as Deco, that makes up in rousing, raw vocal talent what it may lack in restraint. The audience certainly lapped it up. Alex McMorran, on the other hand, is enjoyably measured, pitching his preachy, slightly ambiguous Joey ‘the Lips’ cannily with a character that could quite easily have come across as risible. The three ‘Commitment-ettes’ all give solid song and dance with a dash of working-class salt and realism, whilst Sam Fordham regularly pulls attention and puts in a great turn as hyperactive, hot-headed skinhead Mickah. 

Coronation Street’s Kevin Kennedy (remember Curly?) is fantastic fun throughout as Jimmys’ cantankerous, foul-mouthed father, and keep an eye out for his doubling up as an equally obstinate and entertaining caretaker, whilst the aforementioned Andrew Linnie does sterling work throughout as the driving force keeping the band - and the show - together.

A game cast giving it their all, and aided by some truly classic soul and pop numbers including the likes of ‘What Becomes Of The Broken Hearted’, ‘Mustang Sally’ and ‘River Deep, Mountain High’, when The Commitments hits its stride, it’s a buoyant, irreverent and energised affair, and the rapturous applause and standing ovations were a mark of a surefire good time had by most. It’s just a pity that the show’s talent and music far outshine its competence as a piece of musical theatre storytelling; wheeling out an extended curtain call to gloss over a complete damp squib of an ending elicited unfortunate memories of London’s ill-fated Viva Forever.

Still, if you can overlook the paper-thin story and forgive the surprisingly undercooked writing, there’s certainly a good time to be had with The Commitments. Just more akin to a spontaneous, meandering and drunken night out with a group of fun, rowdy friends than a particularly affecting or impressive one at the theatre.

RATING - ★★★

Tickets: 0844 871 3011​  / Official Website: click​

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