Lionel Bart is best known for ‘Oliver!’ And far, far less known for this, ‘Maggie May’. In part, that’s because his Liverpool-set musical written with librettist Alun Owen is rarely performed. In fact, this scaled-back production at the Finborough Theatre is the first production to appear on a London stage since its 1964 premiere.
The work’s heroine is a perennially chipper sex worker living on the Liverpool Docks. She refers to all her clients as ‘Casey’ until, one day, the original Casey – who also happens to be the love of her life – turns up unannounced.
Pat Casey (James Darch) is the son of a now-dead union martyr, and he’s initially reluctant to take over the family business of representing the other dockyard workers in their fight against the bosses, the coppers and the souped-up union leader, Willie Morgan (Mark Pearce).
Performed by a cast of 13, plus one pianist (Henry Brennan), in the teensy-weensy Finborough, Matthew Iliffe’s production certainly isn’t short on ambition.
The murky Liverpudlian dockside and the subtly-but-very-importantly distinct outfits worn by the female characters are cleverly captured in Verity Johnson’s design. Kara Lily Hayworth delivers some cracking vocals as Maggie, and the ensemble dance numbers – especially after the interval – vibrate with energy.
But it never quite convinces as the forgotten gem it’s aiming to be. The lyrics are often hard to decipher, plot points that should be dramatic (including several deaths) lack tension, and the songs – unlike those great ‘Oliver!’ hits – fail to deliver when it comes to being catchy or memorable.
It’s a talented cast but they’re somewhat wasted on a musical that ties itself in more knots that an apprentice docker, before finally landing on an anti-climatic ending that just doesn’t deliver the shock it’s supposed to.