Welcome! This is your first free article. Get more free articles when you sign up with your email.

The Last Ship

“A tour de force”
FacebookTwitterLinkedIn

It has been something of a rough journey for Sting’s debut musical The Last Ship to end up docked on Tyneside, its spiritual home – including a truncated Broadway run and a last-minute change of cast with the departure of local legend Jimmy Nail, who was in the New York production.

But relaunched on friendlier seas, and with an audience that understands its references to Orgreave and Thatcherism, the show shines. It’s a gorgeous, glorious, fist-in-the-air roar of defiance; a triumphant ode to community and solidarity, to the value and dignity of working class lives.

The story revolves around the return of local boy Gideon Fletcher (a charismatic Richard Fleeshman), who comes home after years at sea to find his town in turmoil with the pending shipyard closure, and that the girl he left behind isn’t particularly thrilled to see him. But while the central romantic arc has considerable chemistry and charm – helped by Frances McNamee’s gutsy but nuanced performance as the abandoned Meg – it’s the musicals’s treatment of wider issues that give it such power.

Standing out in a universally strong cast, Joe McGann brings a stoic dignity to the role of foreman Jackie White. He and Charlie Hardwick (as his wife Peggy) eloquently portray a decades-long marriage in a life that has many quiet joys, but has been anything but easy, and their relationship is the real heart of the piece. While the supporting characters are a little broadly drawn, they never fall into caricature.

Kevin Wathen brings empathy to the hard-drinking Davey, disappointed and bitter, while Joe Caffrey, Sean Kearns and Charlie Richmond nicely flesh out characters that could otherwise be a little thin. Penelope Woodman’s Baroness Tynedale is an unholy mix of Dolores Umbridge and Iron Lady, and Katie Moore shines as Meg’s daughter Ellen, who has inherited her father’s wanderlust and her mother’s spiky bravado.

Although inspired by Sting’s album The Soul Cages, most of the songs are original, a smartly paced mix of foot-stomping anthems and more reflective numbers, and director Lorne Campbell’s new book is sharp and often very funny.

59 Productions’ design is stunning, rendering the shipyard in all its terrible beauty. A skyline dominated by chimney stacks and cranes captures the combination of being hemmed in at home while constantly reminded that the whole world is out there, waiting for you to set sail.

The Last Ship is both heart-breaking and uplifting: both intimate and universal. It is a fierce call to arms in the face of austerity, political indifference and corporate contempt. A reminder of the power of people who may have “got nowt else” but who have each other, and with that, can be unstoppable.

 

The Last Ship star Richard Fleeshman: ‘Being in a soap can stereotype you, but it opens a lot of doors’


Related to this Review

MacbethMacbeth

Production Details
Production nameThe Last Ship
VenueNorthern Stage
LocationNewcastle-Upon-Tyne
StartsMarch 12, 2018
EndsApril 7, 2018
Running time3hrs
ComposerSting .
Book writerLorne Campbell
LyricistSting .
DramaturgSelma Dimitrijevic
DirectorLorne Campbell
Set designer59 Productions
Lighting designerMatt Daw
Sound designerSebastian Frost
CastRichard Fleeshman, Charlie Hardwick, Frances Mcnamee, Joe Caffrey, Joe Mcgann, Penelope Woodman
Production managerPete Kramer
ProducerKarl Sydow, Kathryn Schenker, Northern
VerdictThe UK staging of Sting’s musical is an electrifyingly powerful and unashamedly political tour de force
FacebookTwitterLinkedIn
Add New Comment
You must be logged in to comment.
Tracey Sinclair

Tracey Sinclair

Tracey Sinclair

Tracey Sinclair

Your subscription helps ensure our journalism can continue

Invest in The Stage today with a subscription starting at just £3.98
The Stage
© Copyright The Stage Media Company Limited 2020
Facebook
Instagram
Twitter
Linked In
Pinterest
YouTube