Theatre review: Be More Chill a ‘high-energy’ and well-executed musical

The cast of the musical Be More Chill. Photo / Mark Hamilton

What: Be More Chill

Presented by: Bold Theatre

Venue: Meteor Theatre

Dates: Now until August 31

Tickets: https://themeteor.co.nz/event/be-more-chill/.

Reviewed by Cate Prestidge.

OPINION

A new creative team has made a confident debut for Bold Theatre with this high-energy and well-executed musical.

Director Ella Veitch pitched Be More Chill to Bold Theatre producers in 2023 as part of their Dragon’s Tank.

The musical, adapted from a 2004 book by Ned Vizzini, has been a sleeper hit overseas, growing to full productions on Broadway and the West End.

It’s a good choice for Bold Theatre, who have a kaupapa to bring fresh material to the Waikato and to foster young talent.

Composed by Joe Iconis with a script by Joe Tracz, the storyline asks the question: What would you do if given a high-stakes opportunity to elevate your status?

Veitch, along with musical director Ye-Gon Ryoo and choreographer Rachael Bloemendal, have assembled an accomplished band and cast of up-and-coming young performers.

It’s a big show with over 20 musical numbers, plenty of dialogue and a heap of choreography - the creative team have pulled this together brilliantly.

Through the lead character Jeremy (Zac Clarke), the plot explores the perennial theme of the high school social pecking order, relationships and identity, but adds a massive plot point with the addition of technology and evolutionary biology.

Clarke is very well-cast as lead character Jeremy, a somewhat nerdy character dealing with complexities at home while trying not to draw attention at school.

He’s very good vocally and shows the physical contrasts between Jeremy’s early lack of confidence and later cool swaggering - the status boost coming with the support of The Squip (Jonty Climo).

Zac Clarke, Jonty Climo and Kate Scotting in Be More Chill. Photo / Mark Hamilton

The interplay between Clarke and Climo is believable and well-staged, with Climo clearly relishing the dramatic control and villainy of his character.

Also excellent is the exploration of the relationship between Jeremy and his best friend Michael (Harrie Marshall). Both actors have a natural warmth and Marshall’s emotional rendition of Michael in the Bathroom was a highlight.

The object of Jeremy’s affection is the effervescent drama geek Christine. Kate Scotting is immensely likeable in this role. Christine’s enthusiasms and excesses are presented with confidence and her singing is excellent.

The cast were well-honed and exuded energy. Taking larger roles as schoolmates are Bailey Lindsey (Jake), Eckard Becker (Rich), Georgia Willats (Chloe), Brianna Haddock (Brooke) and Kyra-Mae Wilson (Jenna).

I was impressed with their skill as individual performers, as well as their overall stagecraft.

Haddock, Willats and Wilson developed their characters beyond “popular girl” stereotypes while still having fun playing up the cliches.

Likewise, Lindsey and Becker were polished as the classic “big dogs” on campus but stretched very capably into more complex and dramatic characterisation as the script progressed.

Jonathan Kay took on the two adult roles of Jeremy’s dad, and the drama teacher and he provides a good counterpoint to the youthful themes.

I’m on the fence about his dancing in the final number, the out-of-sequence moves giving relevant “daggy dad” vibes but also being a bit distracting given the overall polish of the rest of the show.

The action was supported by an excellent ensemble (Lucy Thomas, Jack Turner, Michael Kerei, Martha Newland, Cailtin Morris, Sean Hapi) and the vocal power of the combined cast was impressive - it sounded and felt like a much bigger cast.

It was a treat to listen to the eight-piece live band; Ye-Gon Ryoo, Lauren McDonald, Jacqui McPherson, Dylan Connolly, Ashwin Singh, Damon Taylder, Andy Derby and James Cakebread.

Musically, the show was strong, and the shifts between multiple vocalists, solos and ensemble singing, mood and tempo changes felt seamless to me.

The tech team has a busy time, with a range of interesting lighting and mic effects to bring the futuristic elements to life.

Veitch’s set was deceptively simple, with a frame referencing both a screen and a stage and giving elevation. Crisp and effective lighting design by Guy Coker highlighted the changes in scene and mood and was pivotal in some dramatic moments.

This show had many highlights for me. It’s a confident production with wide appeal that goes beyond the usual high school cliches. Recommended for a mature audience.