Presented in concert format some eight years after its initial workshops, Fergus Foran’s musical Most Peculiar Dreams makes its debut outside Ireland with two performances at the Irish Cultural Centre. The story follows Shawn Donnelly Jr. (Joe Jennings), who heads to Manhattan in pursuit of fame as “a singer, entertainer, or raconteur”. What he discovers is that the grass is not necessarily greener far from home.
After an introductory section in which the actors adopt their character personas – including a rather silly suggestion that the leading man is absent and someone from the audience might fill in – we meet Shawn and his family. His father (Eoin Daly) is a Major with a weak heart; his mother, Annie (Meg Kathleen Hardy), and sister, Grace (Bronywn Goulding), are homebodies; and his best friend, Mary-Margaret (Aoife McCormack), harbours feelings for Shawn that he consciously disregards.
After an encounter with some ne’er-do-wells whose intentions are dubious, Shawn arrives at the Sycamore Club. There, under the name “John Brown”, he enters a manufactured romance with leading lady Henrietta Harmon (Juliet Hill, who also directs the show). Henrietta has been a starlet at the club since being discovered waiting tables at 15.
The musical is particularly interesting in its treatment of exploitation, prostitution and manipulation. Henrietta is a victim of her success and public standing, with no parents, family or money to fall back on. Sleazy club owner Bobby Collier (Kyle Laing) professes love for her and admiration for her talent, but his affection comes with coercive control and the constant threat of failure.
Several moments work extremely well. “Providence and Destiny” allows the three people in the love triangle binding Shawn to Henrietta and Mary-Margaret to comment on their situation through a musical-chairs structure. “Daddy, Can You Hear Me?” offers insight into a father-son relationship in which meaningful communication is rare, while Henrietta’s “Lullaby” is devastating. By contrast, Bobby’s solo, “Look at You”, falls flat, attempting to introduce empathy and light comedy into the portrayal of a man whose purpose is to ruin the lives of young women dependent on his guidance and support.
This concert showcase combines live music, with Foran on keyboards and Sarah Doherty on guitar, with extensive recorded backing tracks. The 13-strong cast is largely accomplished, and even smaller roles have their moments. Niamh Horgan as Martha and Colm Lombard as Fate 1 are particular highlights.
Among the leads, Jennings, Hill, Hardy and McCormack make the strongest impression. Their acting and singing serve the story well, and their convincing chemistry supports the relationships as written. Jennings is a wide-eyed everyman who is far too trusting; Hill portrays a troubled, desperate addict who has not enjoyed a natural night’s sleep in years; Hardy has fun with “Old Irish Song” after a drink or two; and McCormack is quietly touching.
The musical is clearly still in development. The book needs considerable strengthening to clarify the setting and the passage of time, while some dialogue scenes feel underdeveloped and occasional lyrics sacrifice sense for rhyme. When the show moves beyond the clichés of a naïve young man being cheated in an unfamiliar place, it works well. Henrietta and Shawn are the strongest characters, but Mary-Margaret needs greater depth and a more clearly developed backstory.
The conclusion is also unconvincing. A rather contrived coincidence delivers a superficially satisfying ending, but one that feels deeply improbable. Technical limitations were evident, too: with only two microphones available, it was particularly noticeable when two actors were amplified while another singing in the same number was not. Some physical and choreographed action was included, but the concert structure limited its effectiveness.
Most Peculiar Dreams is at its best when it explores the seedy realities of showbusiness, particularly through the vile Frank Costigan (Nathan Patterson), a man with no redeeming qualities and an intensely unpleasant manner. More of this incisive darkness would serve the musical well, alongside a more careful examination of moments that feel too flippant beside the grim reality of signing away your life for a chance to stand in the spotlight.
I’m giving this 3 stars in its current form and will watch its future progress with interest. Foran tells us that an Off-West End venue is sought for production in 2027.
Most Peculiar Dreams was at the Irish Cultural Centre on the 23 and 24 Oct.
For more on the production company, Double F Music, visit their website.
Photo credit: Double F Music