The Romantic Poets were, in their day, some of the most controversial artists to ever walk the earth. People such as Byron and Shelley changed the way we view stories and poetry today for their dark, suggestive themes emerging from suppressed Victorian desires that no one dared speak about. However, one fateful night in Geneva, everything changed… A brand new musical 1816 explores what really happened in Geneva between Lord Byron, Mary and Percy Shelley, John Polidori and Claire Clairmont, as the competition of a lifetime is announced! Write a ghost story. The winner gets a publishing deal!
This deliciously strong 5-hander musical took the friendship of this rather unlikely friendship group and flipped the scales as each fragile, mental thread unravelled with being stuck together as the storm outside worsened. The one thing to note is that whilst the music from the live musicians was extremely dramatic and atmospheric, due to them being on stage with the actors in close proximity, it meant that during the musical moments, the singing was drowned out at times, and unless the actors belted out the more emotional moments, some of the lyrics were sadly lost. I realise this may be more to the respective venue limitations, but the choice to be on stage was made. As a suggestion, going forward, it would benefit the show to have the musicians off stage so that it highlights the action rather than overwhelming it. If they have to be on stage, lowering the volume would help, especially as no head mics were used in this musical to boost the vocals. Once this is addressed, the show will be more magical.
Aside from this, the whole cast created the perfect mix of gothic drama, heightened emotions and egos that were so big that even Lord Byron himself would have difficulty topping everything that emerged. They created a dynamic that was so gripping that we awaited with bated breath to see what would happen next.
It was a good move to have Wilf Offord’s John Polidori as the main narrator linking everything together. Polidori was always the dark horse of the group, being a physician who only ever produced one book as a result of that fateful night: The Vampyre. Offord, in many ways, was strangely vampiric as they guided us into a maze of complicated relationships and misunderstood souls that were trying to avoid scandal, yet had to escape its foreboding grasp. They delivered a character who observed more than anyone thought and showed that it’s always the quiet ones that had more to offer.
Oliver Kingston and Kaitlin Pryce portrayed a ‘couple’ who had a more complex relationship than the Shelleys at times. Lord Byron and Claire Clairmont, through a one-night stand, had a moment that brought them briefly close, but of course, Byron didn’t see her as permanent. Just a mere conquest. Kingston seemed a little hesitant playing Byron to begin with, but once the nerves had settled, we saw him portray a raw, unrestrained, broken man who used power to get what he wanted. He made good use of the power of stillness and control to dominate the stage and those around him. In contrast, Pryce’s Claire was someone who carried a secret that could change everything between her and Byron. All for wanting to prove herself worthy to him. She was equally passionate, yet had a charming innocence about her that balanced out his chaotic nature, even if he rejected her. The emotional journey Pryce had was one that was delivered with such sensitivity and reverence that we wanted her to have her say and get her happy ever after.
As for Danny Andrews and Kate Woodman, who played Percy and Mary Shelley, we saw a beautiful, mutually supportive couple who, despite their own complicated lives, had a true devotion to each other. Andrews’ Shelley displayed a raw, addictive personality who became fixated on perfection and intellectual subjects that almost destroyed him in the process. It was good to see him explore a role that gave an instant edge to his performance. He allowed the emotions to become unhinged at times, which in turn allowed Woodman’s Mary to calm him down and nurture him so he could be her Percy again. Her portrayal of the Frankenstein creator was, in many ways, calmer than the others’ and, at times, became the voice of reason, despite battling her own demons. Her song about creating a creature was the highlight of 1816, and her vocals perfectly conveyed the frightening aspect of what she was creating.
1816 is perfect for historians, lovers of history, and musical theatre lovers alike. One to add to the list of exciting upcoming musicals from the company that launched Six.
Reviewed by Sascha Cooper
Hot on the heels of Camden Fringe and off-West End success, 1816 returns to the stage. It’s Byron and Shelley, as you’ve never seen them before.
A Friends meets Frankenstein comedy-drama musical, from the same company that launched SIX: 1816 is the ultimate origin story of the first modern vampire novel and Frankenstein, where a group of five Romantics get trapped for a summer they’d rather forget in their storm-swept villa by Lake Geneva…
Trapped indoors by torrential rain, legendary writers Byron, Percy and Mary Shelley and their friends, Polidori and Claire search for inspiration by the gloomy Lake Geneva. Driven by a desire for escapism, they challenge one another to create the best ghost story. But things fall apart the longer they are stuck together. Polidori’s diary is brought to life in the 1816: The Year Without A Summer musical.
Writers:
Nat Riches (they/them)
Natasha Atkinson (she/her)
Director: Gina Stock (she/her)
Musical Director: Rich Mandal (he/him)
Cast:
Mary Shelley- Kate Woodman (she/her)
John Polidori- Wilf Offord (they/them)
Percy Shelley- Danny Andrews (he/him)
Claire Clairmont – Kaitlin Pryce (she/her)
Lord Byron- Oliver Kingston (he/him)
Musicians:
Heather Greenfield (she/her)
Hong-Nam Vo (they/them)