REVIEW | Treason The Musical
Nicole Raquel Dennis and Sam Ferriday in Treason The Musical. Photo credit Danny Kaan Written by Jacqueline.
*Disclaimer: Gifted tickets in return for an honest review
Treason, a new folk musical telling the story of the Gunpowder Plot, has been in the making for many years. First announced in 2020 with an explosive EP featuring Rosalie Craig and Hadley Fraser, the show has been performed in numerous forms over the past four years. This week, Treason is taking to the stage once again- this time premiering in Edinburgh’s Festival Theatre as a fully-fledged production before heading to Sheffield and London.
Though people generally know a bit about Guy Fawkes and the infamous Gunpowder Plot, few could call themselves experts on that particular event. Treason certainly assumes that their audience has a solid baseline knowledge of the political background at the time, the monarchy in the 1600s, and the persecution of the Catholic Church. I do have to wonder how well the young people in the audience followed the events of the plot, as the show did little to convey the complexities of the situations leading up to November 5th.
Furthermore, the writing changes in pace rather sporadically throughout the show. The first act is slow with numerous ballads. At points, it felt as though the writers were aiming to give every main character a big solo number, rather than utilising dialogue and duets more fluidly to convey the characters’ motives and relationships. Although the cast performed their big ballads excellently, at points it felt as though we were simply filling time until we reached the action. The second act got off to a similarly slow start, then raced through the events of November 5th- which is a shame, as that is likely what most of the audience were waiting in anticipation to see.
As Treason most recently appeared in concert form in the London Palladium, I was particularly interested to see Philip Witcomb’s set and costume design. The costumes were period-appropriate and the ensemble wore more neutral white costumes to be the “eyes” of Guy Fawkes reflecting on the events. This was an interesting idea, though I couldn’t help but draw comparisons to the white “storyteller” costumes that the ensemble wears in Lin Manuel Miranda’s Hamilton, another musical retelling of a historical figure. The set design was simple but effective using candlelight and haze to develop the atmosphere, and this was accentuated by Jason Taylor’s lighting design.
The strongest element of the show by far was the casting, in particular Sam Ferriday (Thomas Percy) and Nicole Raquel Dennis (Martha Percy). Their rich vocals elevated the score beautifully, conveying much of the inner turmoil and loss faced by these characters. Joe McFadden as the king was enjoyable, though at times it felt as though he had been directed to be somewhat silly and over the top rather than playing the role of a man making desperate choices through fear. His comedic moments did bring a pleasant light to an otherwise intense and grace plot. Surprisingly, Gabriel Akamo was incredibly underused as Guy Fawkes himself, mostly appearing to give short snippets of commentary on the action unfolding onstage. The ensemble carried the group numbers wonderfully, performing Taylor Walker’s slick choreography with ease and harmonising beautifully.
Despite the numerous aforementioned highlights, Treason still needs some work. Musicals based on historical figures can be some of the most exhilarating and thought-provoking shows (see the likes of Hamilton, Parade, or Evita). Unfortunately, Treason fails to meet these highs as it fails to bring anything new to the genre. On paper, it has all of the elements that should make up a strong show, but in its current form, it fails to ignite the spark.
Information on Treason The Musicals limited tour can be found by visiting their website.
★ ★
