Lyrics: adapted from the work of Edgar Allan Poe

Music: Matt Conner

Book: Grace Barnes

Director: Hayley Cusick

Reviewer: Lucy Thackray

The Public Reviews Rating:

From childhood’s hour I have not been
As others were; I have not seen
As others saw; I could not bring
My passions from a common spring.
From the same source I have not taken
My sorrow; I could not awaken
My heart to joy at the same tone;
And all I loved, I loved alone.

These are the key lines that Matt Conner and Grace Barnes’ Nevermore is based upon; a self-destructive mantra of otherness and isolation that keeps their lead character in his own dark world. This musical is a dark, sensuous adventure through the life and psyche of poet and writer Edgar Allan Poe, father of the modern horror story.

In a set-up particularly reminiscent of Nine (but with better songs), tortured artist Poe is haunted, teased, seduced and defined by the women in his past and present; his mother, who died when he was just two, his childhood sweetheart Elmira, his young cousin (and wife) Virginia, her mother, who he tries to claim as a substitute, and the nameless whore he is consumed by. He and we hear voices as the actors perform from all around the audience; Poe is not left alone to write and create but is constantly inspired or distracted by his women.

Using Poe’s writings as lyrics, Matt Conner’s score is a series of beautifully haunting lullabies and elegies, which have the added boost of being performed by a set of immaculately-voiced performers in this production. The music provided simply by keys and violin (led by MD Richard Bates), it is the cast’s voices that spin this mesmerising web of dark fantasy, blending and merging in goosebump-inducing harmonies. The poetry of the lyrics and the soft and pulsing music perfectly complement the theme of horror story, suspense and dark romance. The scenes are brief and intensely acted, with every member of the main cast and the gorgeous chorus of gothic singers and dancers committing completely to the material. This is Notion Theatre’s second show following a run of Pasek & Paul’s Edges at the Landor, and I have a feeling they may be a company to watch.

Adam Bayjou is a revelation as the troubled Poe, avoiding any cliches of madness  with a subtly twitchy, pained performance as a man who is both charismatic and selfish. His voice is wonderfully classic and emotive, as are the voices of all the main females. Each has their own specific tone and attitude, but all are a joy to listen to. Erica Birtles is particularly spellbinding as the 13-year-old Virginia, entranced into marriage by her twentysomething cousin’s spine-chilling tales. Anna Simmons as the loyal Elmira is statuesque and pure-voiced, delivering one of the best numbers with the words from Poe’s Sonnet Silence, but all of the female cast are strong. Kimberley Newell makes a captivating whore, animalistic and primal in her body language and sparkling eyes, with a voice to match.

The direction and choreography by Hayley Cusick and Ellie Rutherford are perfection. The performers rush or crawl through the audience, dance glorious solos and group numbers, but never pull focus from the main story. The set and costume design by Jessica Stevens is appropriately macabre, with lacy Victoriana and prim black spiked with a dash of sexuality. This is a short musical of under 90 minutes, with no interval, yet you feel the show’s spell would be broken if you were allowed to leave for the bar. For true quality on the fringe, breathtaking original music and a chance to see some truly talented young performers, I’d recommend this to fans of musicals, poetry and storytelling alike.

Nevermore is at the Courtyard Theatre, Hoxton until 23rd October. For more information call 020 7729 2202 or click here.

Tags: adam bayjou, anna simmons, Courtyard Theatre., Edgar Allan Poe, ellie rutherford, erica birtles, Fringe, grace barnes, hayley cusick, hoxton, jessica stevens, kimberley newell, London, matt conner, Musical, nevermore, Review, richard bates