Sheridan Smith delivers a performance that is both haunting and captivating in Opening Night at the Gielgud. As a functioning alcoholic actress grappling with her character’s essence, Smith navigates the intricate layers of Myrtle’s psyche with remarkable depth and vulnerability.
The narrative takes a chilling turn when tragedy strikes outside the theatre, plunging Myrtle into a turbulent emotional spiral. Yet, amidst the chaos, the show must go on.
One of the most striking aspects of the production is its innovative staging. The use of a large screen offers the audience a unique perspective, allowing them to view the action through their own eyes or as documentary observers. Standout moments, such as Nancy’s haunting presence in Myrtle’s mind juxtaposed with Gus’s on-screen portrayal, and the dark inception-style sequences, add a layer of depth and intensity to the performance.
While the play-within-a-play concept is fast becoming a trope in contemporary theatre, and although it not being my favourite premiss, you cannot argue with it’s execution in this case. The seamless integration of the inner and outer narratives is compelling and immersive
The cast delivers stellar performances across the board. Nicola Hughes’s powerhouse vocals, Amy Lennox’s gentle yet commanding presence, and Shira Hass’s delightfully unhinged portrayal all contribute to the richness of the production.
Rufus Wainwright’s musical contributions shine, with the banjo adding a unique texture to the score. While the songs may not be immediately catchy, they blend seamlessly into the fabric of the show, enhancing its darker undertones.
Opening Night may not be your typical upbeat musical, but for those who appreciate theatre on the darker side, it is a must-see. With its exceptional acting, incredible vocal performances, and innovative staging, this production offers a gripping exploration of the human psyche that will linger in the minds of audiences long after the curtain falls.
