(This is not a review per se, given the work in progress nature of the piece, nevertheless we will try to give you a sense of what we saw and it’s merits).
Star Rating: ★★★★★
The Man in the Ceiling is one of eight work in progress musicals that are being given the opportunity to try out an initial staging with minimal rehearsal time. This format, provides audience’s the chance to therefore to get a look into how a musical is conceived and developed, whilst symbiotically allowing creatives to dry run their work in order to develop it further. Conceived by The Turbine Theatre’s Artistic Director, Paul Taylor-Mills, MT Fest is a champion of new musicals and should be supported accordingly. Particularly in its new hybrid format with live, in-person audiences followed by digital streams.
The Man in the Ceiling is a heartfelt stage adaptation of Jules Feiffer‘s children’s graphic novel of the same name, written by Andrew Lippa (Music and Lyrics) and Feiffer (Book). Having been workshopped a few times in 2008, the piece eventually had a staging at Bay Street Theater, (Sag Harbor, New York) in 2017, before releasing a premiere studio album in 2019 and is now being reworked for a British audience. Centring on 12-year old Jimmy Jibbett, (Alex Austin), an aspiring cartoonist who would rather be drawing than studying or playing sports with his father, The Man in the Ceiling is an uplifting tale about following your creative passion against all odds. Disheartened by his father’s disapproval and unable to part his mother from her busy schedule, Jimmy turns to his uncle, who tries to understand but is too wrapped up in trying to write a love song for his next flop musical. Meaning Jimmy must look to his own world of creation for help, perhaps The Man in the Ceiling can lead him to his true destiny…If only Jimmy would look up!
Told from the perspective of Older Jimmy, (Obioma Ugoala), the work enacts as a meta staging of an important make or break moment in Jimmy’s childhood, with Older Jimmy remembering his past in order to draw it, as if writing the graphic novel the musical was initially based on, the memories simultaneously coming to life before him. A theatrical device which is magnificently delivered by Ugoala, with some exceptional and receptive direction from Annabel Mutale Reed. We see Older Jimmy react to the reprimands of his father, scribbling down his story throughout, even muttering phrases of dialogue as if locked in a trance of remembrance, as well as placing himself within the story, at times speaking for his imagined younger self. Determining him firmly as the author and narrator of his own story, a similar technique to that used by Lisa Kron and Jeanine Tesori in their musical adaptation of Alison Bechdel‘s graphic memoir Fun Home. Giving the piece an interesting multi-layered quality to it. For any children in the audience, there is a kid version of Jimmy that they can relate to, who, is on the cusp of growing up and struggling with not feeling good enough, even thinking about quitting his favourite hobby. Yet on the other hand, there is Older Jimmy, who’s very existence, not only helps to frame the piece well, ensuring the narrative is slick and continuously moving, he stands as an indication that years later Jimmy is still creating and doing what he loves, a beautiful end to a story which nearly sees the protagonist give up on his dreams for good. Making Jimmy a loving example of how perseverance in the face of adversity can result in greater long-term rewards. Furthermore, this thematic of doing your utmost to pursue your aspirations is perfectly captured by Feiffer and Lippa from all angles, creating a whole host of relatable characters. We see the ingrained sadness and frustrations of Jimmy’s father who narrowly failed to reach his goal of playing for The Mets, bitterly resenting the fact he can’t live vicariously through his son, as Jimmy has no interest in, or talent for sports like Charlie Beemer next-door. Something he realises he has to get over in order to help his son reach his full potential, an interesting exploration into a father-son relationship and the parental pressures placed upon children. Alongside this is Jimmy’s Uncle Lester, who never quite made it to Broadway but persists nevertheless. After writing a series of flops, Lester eventually sees his work staged on The Great White Way, but despite succeeding in finally finishing a love song it’s a critical catastrophe, making his dreams not what he thought they’d be. Regardless of a sadness looming over him, Lester is still able to help Jimmy celebrate his achievements. Finally there’s Jimmy himself, a boy who can’t seem to perfect the art of drawing hands, but with some help from The Man in the Ceiling, he finds that practice makes perfect and evidently goes on to continue to pursue his passion. Thus, the appeal of the show as a family-friendly, coming of age musical, bolstering a positive message about being yourself and trying your best to achieve your goals, with boundless relatability, exploring many family dynamics, is clearly perceivable. The current format being filled with character and heart. But, is it wildly inventive? No. There are several similar musicals out there, some aimed at family audiences, others not so much. However, there is something so charming about Feiffer’s story, particularly when combined with the musical excellence delivered by Lippa.
Moving on to Lippa’s music then, the score is not only hugely enjoyable with many distinguishable songs that give much needed windows into the trials and tribulations of Feiffer’s characters, it is wonderfully complex, often displaying Lippa’s prowess in composing several interweaving melodies and countermelodies. A definite challenge to the cast, who undoubtedly succeeded in delivering the score at its full potential, accomplishing the layers of overlapping parts and multi-part harmonies with ease. A success that can also be attributed to the production’s musicians Sam Young (Musical Director/Keyboard), Elaine Ambridge (Viola), Becky Brass (Drums), David Hornberger (Cello), who worked hard to provide an effervescent and ultimately full sound.
One of the most appealing elements of the work is the way two opposing dynamics seem to work so well together, on the one hand you have the naivety of Jimmy, who has created a multitude of larger than life characters. As Jimmy draws these characters, they are shown to leap off the page, the rest of the company portraying them In full splendour for us to enjoy. Enchantingly staging the whimsy and boundless nature of a child’s imagination, (a full staging of which, combined with some vibrant design elements would be immensely kaleidoscopic, particularly if Jimmy’s drawings were animated and projected throughout before being inhabited by cast members). Whilst on the other hand you have these adult characters who are world weary, the overworked mother, who argues with the disillusioned father seen to be imposing his own aspirations upon his son, as well as the engrossed uncle, who is blinded by his work etc. Characters that any adult can relate to without any stretch of the imagination, their contentions being emotively brought to life by the aforementioned compositions of Lippa. Thus, we see them unable to support Jimmy, clouded by their own circumstances. Upon deciding to grow up and give up drawing cartoons, we see Jimmy almost transgressing into the bleak world of these disenchanted adults, his drawings having been thrown in a garbage bag stored under his bed and his characters no where to be seen, before The Man in the Ceiling, an extension of his imagination, appears to give him the help and support he needs in order to experience the success he has been craving. The two dynamics, adolescent imagination and world-weary experience combine to provide the necessary conflict and resolution. Suggesting there’s much to be learnt from the abounding resilience of children, the adults ultimately realising their mistakes and celebrating Jimmy which such enthusiasm. Reminding us to look carefully at the relationships we harbour with the children in our lives and that dreams, big or small are worth pursuing.
Finally performance-wise, the company of seven are simply exquisite. As aforementioned Obioma Ugoala‘s Older Jimmy is a sensational narrator, warmly guiding us through the piece. His young counterpart, Alex Austin (Jimmy) is a star in the making. The tonality to his voice at such a young age is phenomenal, whilst his acting is entirely credible and full of intricacies. His parents, portrayed by Matthew Croke (Father) and Sharon Rose (Mother) prove themselves to be knockout performers, able to capture the irresolute natures of their characters with dexterity and ease. Rose and Croke both delivering astonishing vocal performances. Similarly, Trevor Dion Nicholas is a master storyteller, able to provide innumerable depth and wit to his characterisations alongside vocal excellence. His Uncle Lester is wonderfully humorous bolstering a warm, yet wavering disposition. Alongside them are Vilberg Andri Palsson, (Charlie Beemer) and Jazz Jenkins, (Lisa). Palsson delivers a fantastic antithesis to Austin’s Jimmy, Beemer being the sporty, popular neighbour who Jimmy’s father wishes he was more like, who, in reality is an intolerable boy who tries to manipulate Jimmy into doing what he wants. Palsson wonderfully bringing this unlikeable, antithetical brute to life. Whilst Jenkins delivers a wonderfully sprightly Lisa, Jimmy’s caring sister, who doesn’t always perhaps show it in the right way often appearing to be more annoying than helpful. She is a dynamic performer who also harbours a beguiling voice.
To conclude, the work that has been done on The Man in the Ceiling to make it appeal to a British audience has certainly been worthwhile, the workshop felt polished and like it was very nearly the completed puzzle. The piece is perhaps not the most unique concept, with many parallels easily drawn to musicals like Eugenius, Fun Home, The Secret Diary of Adrian Mole Aged 13¾, Superhero, SuperYou the Musical and more, but what it lacks in originality, it more than makes up for in authenticity and sentiment. It would not surprise us if we saw a fully staged UK production in the near future. Though, there are more developments to be made, for instance, more time could definitely be spent on introducing the characters Jimmy draws and why, even The Man in the Ceiling who, has very fleeting interactions with Jimmy could be elaborated upon further. We would also like to know more about Jimmy’s parents and their dynamic as well, in order to give them and the family as a whole more dimension. See it for yourself, book tickets to a livestream here, 31st May – 4th July.
Creatives: Music and Lyrics: Andrew Lippa, Book: Jules Feiffer, Direction: Annabel Mutale Reed, Musical Director and Keyboard: Sam Young, Musical Supervisor: Richard Beadle, Assistant Director: Jack McCann.
Cast: Charlie Beemer: Vilberg Andri Palsson, Jimmy Jibbert: Alex Austin. Father: Matthew Croke, Lisa: Jazz Jenkins, Mother: Sharon Rose, Older Jimmy: Obioma Ugoala , Uncle Lester: Trevor Dion Nicholas, Musician – Viola: Elaine Ambridge, Musician – Drums: Becky Brass, Musician – Cello: David Hornberger
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