PASSING STRANGE
Image credit — Marc Brenner
Passing Strange by Stew
From the palm trees of LA to rendezvous in Amsterdam and protests in Berlin, Passing Strange, the semi-autobiographical, Tony Award-winning rock musical by Stew (with music by Stew and Heidi Rodewald), makes its electrifying European debut at the Young Vic. This production tells the story of a young man's musical journey to find “the real” and the damage he causes along the way.
Unlike any musical you will ever see, Passing Strange uses a metatheatrical form of storytelling to present and immerse the audience in the life of the characters. We are first introduced to the Narrator (Giles Terera), who breaks the fourth wall and quickly forms a bond with the audience, setting the tone for the play. He is joined by the rest of the company: a four-man band positioned at each corner of Ben Stones' narrow stage and a choir that also cosplays as characters in this rock story.
Terera takes on the role of explaining and observing his younger self, Youth (Keenan Munn-Francis), as he escapes his middle-class life in South Central LA to explore Europe. Before his adventures, we witness Youth being coaxed into attending church with his mother (Rachel Adedeji), joining the church choir, and being initiated into the circle by smoking his first blunt, given to him by the pastor’s closeted son and the choir conductor.
By the end of the first performance, the theme of pretence is established. The idea of ‘passing’ anchors the play, highlighting the cost of pursuing ‘freedom’ and ‘identity.’ Youth believes he knows what he's looking for, but his journey only showcases his rebellion against one identity to adopt others to fit in. The play challenges and illuminates different perspectives on passing—pretending to be something you're not for acceptance and desired freedom
As the Narrator, Terera commands the stage flawlessly. His energy and charisma breathe life into the show, complemented by the rest of the cast as they equally share the spotlight. Supported by Jerome van den Berghe’s musical direction, Terera’s cues for the band to start, stop, engage, and perform are impeccable.
Guitar and drum solos, and incredible singing, had audiences on their feet at various moments in the show. Under Liesl Tommy’s creative direction, the stage is used to its full potential, with moving parts and props seamlessly appearing and disappearing. While Terera and Munn-Francis often take centre stage, the ensemble moves fluidly, fitting into the narrative and mirroring each other.
The first half of the play teases the audience, taking a while to gain momentum, but once it does, it never stops. The musical transitions from soft blues to heavy thrash metal, showcasing the talent on stage, from Adedeji’s portrayal of a mother’s love to the ensemble’s depiction of revolutionary art conversations in Berlin, which highlight Youth’s shortcomings.
As the play concludes, Terera remarks, “It’s weird when you wake up in the morning and realise that your entire adult life was based on a decision made by a teenager. A stoned teenager.” Delivered with wit, this line encapsulates the play, leaving viewers with food for thought. It reminds us that while we may regret some decisions, there is always room for forgiveness as we find our own version of what is real.
By Eniola Edusi
Passing Strange is showing at the Young Vic Theatre until the 06 July, 2024.
★★★★☆
