Once, the 2012 Tony Award winner for best musical based on the 2006 film of the same name, opened last week at the Royal Alexandra Theatre. It’s a feel-good show about love and music that’s full of great songs—the stage equivalent of a mixed-tape. There is energy, there is emotion, there is even good acting, and the story has as much depth as a reality TV show. But that’s okay, because the bar is open, right on stage!
Once tells the story of a Guy in Dublin who is ready to give up on pursuing the songs he’s been composing and recording on a four-track in his “sad” room above the vacuum shop where he works for his father. His is a musically demanding role, filled effortlessly by guitar-wielding Stuart Ward, but the character is not given much to do other than perform his songs and talk about his feelings. It is Dani De Waal who steals the show as the spunky and pragmatic Girl, a piano-playing Czech immigrant who works in a music shop. Girl meets Guy and encourages him not to give up on his music. That’s about it for story. Intermission arrives at a moment of no particular significance, after a suitable number of songs have been performed—no cliff hanger, just a break between sets.
What carries the show is the atmosphere, which the music, cast and staging deliver in abundance.
The set is a Dublin pub, and the bar on stage is open for business serving audience members before the show and during intermission. I take my Guinness to my seat and, with audience members still milling around stage ordering drinks, some of the 15 stringed instruments are taken up by cast members and the Irish pub jam is underway. Gradually, audience members are coaxed from the stage to their seats, and the raucous jam morphs into a ballad sung by a lone baritone. The show has begun.
Most of the songs were composed by Glen Hansard (the guitarist in the 1991 film The Commitments who went on to become songwriter/vocalist/guitarist of the Irish rock band the Frames) and Markéta Irglová who starred together in the 2006 film. Their song “Falling Slowly” earned Once the Oscar for Best Song. Dubliner Hansard, described by Toronto’s rising star Peter Katz as “my number one musical hero,” mentored Czech song writer Irglová who is two decades his junior. Before the film, the two started performing as duo act The Swell Season; after the film’s release, the pair became a couple briefly. A story of such collaboration and intimacy might have furnished a richer story than the vague shadow of a romance between a songster and his muse as written by playwright Enda Walsh for the stage musical.
Secondary plotlines and characters likewise offer actors little of substance, but every one of the twelve performers gives a solid performance. Each sings, acts and plays from one to five instruments over the course of the show, and no one wastes a moment of stage time. Even lines that seem to serve no particular purpose in the story are delivered with commitment. There are no big dance numbers, but there are numerous bits of well-placed choreography (movement, Steven Hoggett) and a good amount of booty shaking (dance captain, Erica Swindell).
It was a privilege to see the irrepressible Swindell, normally in the role of Ex-Girlfriend, tackle her understudy role as Girl’s forthright friend Réza on opening night. Swindell is a fiend on the fiddle, an eye-catching dancer, and an engaging actor. Donna Garner as Girl’s mother Baruška and Evan Harrington as clownish music store owner Billy give noteworthy performances.
Music captain John Steven Gardner (playing Eamon) likely deserves some credit along with director John Tiffany and musical supervisor Martin Lowe for keeping the mood, energy and pace always on track. Lighting design (Natasha Katz) and of course sound design (Clive Goodwin) further contribute to the impeccable balance of the entire presentation.
The 135 minutes fly by and, after the ovation, a couple of women putting on their coats give a succinct review: “That was nice!” “Yes, it was lovely.” Once is simple, light entertainment that is worth seeing, once.
Once, Royal Alexandra Theatre, runs until Jan. 5
Evan Andrew Mackay is a Toronto playwright and humorist who writes about culture and social justice.
