Whilst there is a current trend of classic films being adapted into stage musicals, with Beetlejuice and Trainspotting among the more recent examples, it wasn’t so long ago that we saw a different trend, with narratives built around the music of established artists, weaving original stories from songs we already know and love.
In 2002, we were introduced to one of the most relatable examples of this trend with Our House.
Set to the music of Madness, Our House follows London teenager Joe Casey, who, on his sixteenth birthday, attempts to impress his girlfriend by breaking into a new building development to show her a view of London—and his street, Casey Street, which, as he explains, was named after his great-grandfather who helped build it. Unfortunately for them both, their romantic night is cut short when the police arrive, leaving Joe with a life-altering choice that will split his future into two paths: does he flee to save himself, or stay and give himself up?
The two realities are then played out in parallel, each decision leading him down a different path—one towards crime, the other towards a life of regret as he tries to rebuild after being sentenced, with Joe shifting between both versions of himself.
Whilst Our House will definitely appeal to Madness fans, new listeners will just as easily be drawn in by the songs and story, thanks to the strength of the cast’s performances. As with much of Madness’s music, the show is, for the most part, upbeat and a lot of fun, bursting with energy from performances that make it impossible not to tap your feet along. That said, the play also delivers a strong emotional connection, allowing the audience to truly sympathise with the characters and their struggles.
The two leads are perfectly cast, bringing both a strength and vulnerabilities to their personalities, as they move between the dual realities of their characters.
Joe Drury does an amazing job of portraying the different sides of Joe Casey, seamlessly switching between the downtrodden rehabilitated young offender in one reality and the confident, rule-bending businessman in the other. He delivers a clear contrast between the two, both through performance and physicality, whilst maintaining the character’s core. Joe excels with his natural comic timing, particularly in his expressive reactions, but it’s his ability to carry the weight of the more emotional scenes that truly connects with the audience. One minute he has the audience laughing, and the next you find yourself drawn into his quiet dejection.
Cerys Wilkin is equally impressive, sharing the lead as Joe’s girlfriend, Sarah, whose life seems destined to remain connected to his whichever path they choose. Whilst her performance is more reserved than some of the more exuberant cast members, her grounded emotion and sincerity make her stand out. The emotional journey of her character builds throughout the show, and this really comes across in the second act where her voice truly shines. Some of her duets, including NW5 and It Must Be Love, highlight exactly why she was chosen for the role.
Both Faye Evans as Kath Casey and Darrell Jackson as the now-deceased Dad bring powerful performances to the stage, adding an emotional depth and sense of unease throughout the story. Similar to the Mother and Narrator characters in Blood Brothers, they both carry a warning and emotional pain from the events that unfold, which resonates throughout the show.
Adopted brothers Lewis played by Alex Wood and Emmo played by Sean Hynes prove themselves to be a perfectly balanced comedic duo. Not too bright, but extremely likeable, provide light comic relief to counter some of the more serious moments of the play. Whilst Lewis plays it slightly straighter than the excitable Emmo, they both fully embrace their characters with highly physical and energetic performances that brighten any scene they appear in. Even in the ensemble moments, they still seem to naturally catch your eye.
Charlotte Cavedasca and Beth Hodges, as Billy and Angie respectively, are two characters who are hard to forget and are probably best described as the London version of Mean Girls. They fully embrace and embellish the exaggerated personas of their roles and, like the brothers, bring real energy to each scene with their bold personalities and expressions.
Whilst the main cast really excel in their individual performances, it is when the dancers and ensemble cast members come together for the big numbers that the show truly comes alive. The dance choreography is brilliantly interwoven, and the energy from the performances resonates into the audience, becoming infectious. There is so much going on, yet it is impressively held together on stage. It is a huge mixture of ages, but everyone seems to be giving their all from start to finish. The sustained energy is remarkable, and it’s so engaging that you can’t help but feel like you want to join in.
I don’t need to go into too many details about the songs, as the Madness greatest hits used throughout the show speak for themselves. Even audiences unfamiliar with Madness are quickly drawn in by the catchy ska sounds and their simple, engaging lyrics.
The story built around these songs is incredible, and BasOp really bring this to life on stage. The production looks amazing, the cast is extremely talented, and the effort they put into every number is impressive. I sometimes think it’s unfair to call acts like BasOp amateur theatre, because that comes with a preconceived notion that the performances match the description. What they have achieved here is anything but. It’s an incredible show, performed to the highest standard. My only regret is that, due to plans, I won’t get the chance to see it again.
Review: Phil Rogers
In 2002, we were introduced to one of the most relatable examples of this trend with Our House.
Set to the music of Madness, Our House follows London teenager Joe Casey, who, on his sixteenth birthday, attempts to impress his girlfriend by breaking into a new building development to show her a view of London—and his street, Casey Street, which, as he explains, was named after his great-grandfather who helped build it. Unfortunately for them both, their romantic night is cut short when the police arrive, leaving Joe with a life-altering choice that will split his future into two paths: does he flee to save himself, or stay and give himself up?
The two realities are then played out in parallel, each decision leading him down a different path—one towards crime, the other towards a life of regret as he tries to rebuild after being sentenced, with Joe shifting between both versions of himself.
Whilst Our House will definitely appeal to Madness fans, new listeners will just as easily be drawn in by the songs and story, thanks to the strength of the cast’s performances. As with much of Madness’s music, the show is, for the most part, upbeat and a lot of fun, bursting with energy from performances that make it impossible not to tap your feet along. That said, the play also delivers a strong emotional connection, allowing the audience to truly sympathise with the characters and their struggles.
The two leads are perfectly cast, bringing both a strength and vulnerabilities to their personalities, as they move between the dual realities of their characters.
Joe Drury does an amazing job of portraying the different sides of Joe Casey, seamlessly switching between the downtrodden rehabilitated young offender in one reality and the confident, rule-bending businessman in the other. He delivers a clear contrast between the two, both through performance and physicality, whilst maintaining the character’s core. Joe excels with his natural comic timing, particularly in his expressive reactions, but it’s his ability to carry the weight of the more emotional scenes that truly connects with the audience. One minute he has the audience laughing, and the next you find yourself drawn into his quiet dejection.
Cerys Wilkin is equally impressive, sharing the lead as Joe’s girlfriend, Sarah, whose life seems destined to remain connected to his whichever path they choose. Whilst her performance is more reserved than some of the more exuberant cast members, her grounded emotion and sincerity make her stand out. The emotional journey of her character builds throughout the show, and this really comes across in the second act where her voice truly shines. Some of her duets, including NW5 and It Must Be Love, highlight exactly why she was chosen for the role.
Both Faye Evans as Kath Casey and Darrell Jackson as the now-deceased Dad bring powerful performances to the stage, adding an emotional depth and sense of unease throughout the story. Similar to the Mother and Narrator characters in Blood Brothers, they both carry a warning and emotional pain from the events that unfold, which resonates throughout the show.
Adopted brothers Lewis played by Alex Wood and Emmo played by Sean Hynes prove themselves to be a perfectly balanced comedic duo. Not too bright, but extremely likeable, provide light comic relief to counter some of the more serious moments of the play. Whilst Lewis plays it slightly straighter than the excitable Emmo, they both fully embrace their characters with highly physical and energetic performances that brighten any scene they appear in. Even in the ensemble moments, they still seem to naturally catch your eye.
Charlotte Cavedasca and Beth Hodges, as Billy and Angie respectively, are two characters who are hard to forget and are probably best described as the London version of Mean Girls. They fully embrace and embellish the exaggerated personas of their roles and, like the brothers, bring real energy to each scene with their bold personalities and expressions.
Whilst the main cast really excel in their individual performances, it is when the dancers and ensemble cast members come together for the big numbers that the show truly comes alive. The dance choreography is brilliantly interwoven, and the energy from the performances resonates into the audience, becoming infectious. There is so much going on, yet it is impressively held together on stage. It is a huge mixture of ages, but everyone seems to be giving their all from start to finish. The sustained energy is remarkable, and it’s so engaging that you can’t help but feel like you want to join in.
I don’t need to go into too many details about the songs, as the Madness greatest hits used throughout the show speak for themselves. Even audiences unfamiliar with Madness are quickly drawn in by the catchy ska sounds and their simple, engaging lyrics.
The story built around these songs is incredible, and BasOp really bring this to life on stage. The production looks amazing, the cast is extremely talented, and the effort they put into every number is impressive. I sometimes think it’s unfair to call acts like BasOp amateur theatre, because that comes with a preconceived notion that the performances match the description. What they have achieved here is anything but. It’s an incredible show, performed to the highest standard. My only regret is that, due to plans, I won’t get the chance to see it again.
Review: Phil Rogers
Photo Credit: Emma Stow Photography