CALON LÂN: THE MUSICAL | STAGE REVIEW

Calon Lân: The Musical

***

Sat 29 June, Grand Theatre, Swansea

It’s fifty years since the “lovely, ugly town” of Swansea became the city it is today. And to mark the occasion, Welsh musician Mal Pope and Grand Slam Theatre Company present Calon Lân: The Musical (a reworking of Pope’s critically acclaimed musical Amazing Grace from 2005), which explores the role played by faith and religion in the lives of Swansea’s coal miners during the Welsh revival of 1904-5. It’s based on the true story of Evan Roberts, a 26 year-old miner-turned-minister who claimed he was called upon by God to lead a world revival and save 100,000 souls. 

Mal Pope, the musical’s writer and composer, says in the programme that he “didn’t want to create a period piece”, instead aiming for a show that felt “very modern and relevant”. The impressive score certainly achieves this — a blend of piano-led songwriting, progressive rock and triumphant gospel, with discernible influences from Andrew Lloyd Webber and Elton John.

Unfortunately, the same can’t be said for the writing, which fails to develop its characters sufficiently and leaves a number of scenes feeling a little rushed, stilted or simply unfinished. At times, the show almost strays into the murky territory of religious fanaticism, especially during the conversion scenes which happen implausibly quickly. At one point, a man declares to the congregation, “I WILL NEVER BELIEVE!” After about thirty seconds of staring at Evan, who has transformed into an embodiment of God with the help of some heavenly lighting, the man cries, “I BELIEVE! I REALLY DO BELIEVE!” The script might be more successful if it engaged more openly with the problematic aspects of the story, such as the tension between the brutal exploitation of the miners and the temporary solace offered by Christianity — the only guiding light available to them in such dark times.

Director Maxine Evans — an Olivier Award nominee for The Revlon Girl in 2018, but you might know her better as “Cocking” Rhian from Sky One’s Stella — brings some West End sophistication to the staging. Her efforts are complimented by a striking and versatile set, designed by Colin Mayes. However, on this particular performance, continual sound issues were no help to the show’s pacing problem, especially the half-asleep techies who only remembered to turn on actors’ mics once they were halfway through their lines.

But the accomplished, vocally gifted cast coped remarkably well with this, giving emotionally sincere performances across the board. James Ifan, in his portrayal of Evan Roberts, successfully maintains a balance between kind-hearted messenger and obsessive visionary. Seasoned players Claire Hammacott and Kevin Johns deliver fine performances as Evan’s parents, and there’s commendable support from Laura Meaton, Jordan Bernarde and Robert Heard, among others. But it’s Cameron Blakely who holds the show together expertly as narrator W.T. Stead (the journalist tasked with investigating Roberts) — charming and compelling throughout, even in the musical’s weaker moments.

With some ironing out on the script and structure, there are the makings of a potential hit musical in Calon Lân. If this production proves anything though, it’s that there’s more talent in Wales than we like to give ourselves credit for.

words Sam Pryce