In some respects, this is a show that covers some well-trodden ground. Jude (Matthew Heywood) is a singer-songwriter who is on the cusp of success. It wasn’t made entirely clear what was meant by ‘success’, although the exposure he was about to get from being the support act for Ben, an unseen character, something of an international phenomenon in the English-speaking chart music world, is significant. I’m still not sure how well a folk musician would go down with arena pop music audiences – but this very quickly becomes a secondary concern, in part because he’s fallen head over heels for Ben, who in turn is dating Zoe (Noa Nikita Bleeker), who describes herself as “talentless”, merely because she can’t sing or act.
This is a world, then, in which talents valued in the entertainment industry are placed higher than abilities anywhere else – sport, the judiciary, medicine, agriculture, and so on and so forth – all are considered inferior to the ability to get up in front of a crowd and sing one’s own songs. But I think I’d have preferred it if the show was a three-hander – Ben’s perspective on proceedings would have been a useful addition. Zoe needs Ben for likes and ‘lols’ and whatever else, but does Ben need Zoe? Their ‘relationship’ – inverted commas Zoe’s, ultimately – is a publicity stunt. Would the pop star’s fanbase, obsessed as they are, really not see through the façade?
Jude, one of those lover-not-a-fighter young lads, contrasts well with the somewhat ruthless Zoe, though there’s more humanity in Zoe than she lets on – for one thing, she takes the trouble to tell Jude about what it takes to make it in the live music business (yes, of course, it’s also a theatrical device to inform the audience of the same). If she were completely uncaring, she would simply let Jude get on with it and observe as he either sinks or swims. Either way, however, this is definitely not a lifestyle for the faint of heart, particularly in the digital era, where everything said, sung and witnessed is subjected to trial by social media, which can be even more vicious than trial by tabloid newspapers.
The storyline is not altogether convincing in every aspect. There are hints that Jude has some awareness as to why Ben is far less responsive to him than he used to be, though Zoe pulls him far too easily back into the world of make-believe, or at least the world of artful deception. In the end, the old adage about how telling the truth means not having to remember anything came to mind, even if the harsh reality of life is that the most devious of people somehow manage to come out on top one way or another, more often than not. The narrative arc in this production ends with how things ‘should’ be, which isn’t quite the same as how things very unfairly actually often turn out in the real world.
That said, there’s nothing wrong with dreaming of what could be. The audience is treated – and very definitely not subjected – to some actor-musicianship, thanks to Jude’s trusty guitar. For some reason, there’s a keyboard on stage, which is barely touched. The sheer amount of feelings of uncertainty and insecurity makes this, at face value, a difficult play to fully engage with. I suppose one should be grateful these characters didn’t embark on courses of therapy they didn’t need or had ghost-written tell-all books published in their names. The play preaches to those already converted, but it is nonetheless a reminder of the ‘real’ price of fame and fortune. While the script and storyline could do with some tightening, the actors punch above their weight when it comes to making the most of what they are given.
Review by Chris Omaweng
A play with music about fame, sexuality and unrequited love.
This is Jude’s big break. He’s an unknown folk musician from the middle of nowhere supporting one of the biggest pop stars in the world. But when nepo baby Zoe sits him down to explain some hard truths about the music industry, the world of public relations, and the relationship status of the man he’s slowly falling in love with, his faith in himself and his love of the music starts to crumble.
Can he survive the tour with his integrity intact? Does he even want to?
Noa Nikita Bleeker as Zoe
Matthew Heywood as Jude
Written by Meg Schadler
Directed by Benedict Esdale
Original Music by Stamatis Seraphim
MediumRare Productions presents
GREEN
Old Red Lion Theatre
10 to 14 June 2025
