How do you know what you really want when everything around you is changing? That’s the question The Mad Ones poses as we meet Samantha Brown (a stunningly vulnerable Dora Gee) at a pivotal point in her life. There are college admissions, a protective mother, driving lessons and an irritatingly dependable boyfriend. So far so ordinary perhaps, but when Sam is also faced with the death of her best friend, the one person who pushed her out of her comfort zone, life takes a grief-stricken and anxiety-laden turn.
In a dreamworld of memories, fragments of their friendship are replayed as Sam comes to terms with her past and what her new future could look like. It’s a tender look at love and loss that narrowly avoids being bleak thanks to some wonderfully observed comedic moments and teenage enthusiasm. Reuben Speed’s effective shattered mirror backdrop amplifies the dark and the light, while the prop car keeps the characters and audience anchored in Sam’s mind.
As Sam, Dora Gee is a believably sweet and conscientious character paralysed by expectation and choice—her top grades leading to more stress than reward as she tries to keep anyone else happy. By contrast, Courtney Stapleton’s Kelly is a free spirit who brings out the fun and dares to dream big. Stapleton balances heart and humour throughout, and the two command the stage with their fierce and impassioned performances.
As Sam’s tightly wound mother Beverly, Thea Jo Wolfe sparkles, injecting a lot of heart into a role that could have been pure caricature. Similarly, Gabriel Hinchcliffe creates an endearing boyfriend for Sam in the form of unassuming Adam. Although technically supporting roles, their characters and vocal abilities are showcased in many scenes and the show’s modern sound would be incomplete without them.
The driving motif of the piece is, well… driving and the freedom that being on the road can bring. Associated phrases and metaphors are explored endlessly by all of the characters, and, as a result, despite some fantastic vocals, act one feels laboured, the plot, such as it is, does not progress and leaves the second half to do the heavy lifting. Like many contemporary musicals, the score is raw and expressive demanding soaring harmonies and a lot of belt. The result is an impressive vocal blend but few of the songs are memorable when separated from the piece.
The Mad Ones is a neatly staged and emotionally charged show with an immensely talented cast who create great chemistry. And, despite focussing on the grief of a teenage girl, there are plenty of moments that resonate for all on her bumpy road to adulthood.