JADAR

★★★★☆

42 Balloons is a brand-new musical by Jack Godfrey. With an 80s pop-infused soundtrack, it tells the story of the Lawnchair Larry flight: in 1982, Larry Walters made a 45-minute flight in a homemade aerostat made of an ordinary lawn chair and 42 helium-filled weather balloons. As the ensemble tell us during the first number: “This actually happened – you can look it up after the show!”

The story is as much about Larry’s wife, Carol (Evelyn Hoskins), as it is Larry himself (Charlie McCullagh). Carol was instrumental in Larry achieving his dreams, including taking out a huge loan and working hard to pay back the debt – but he got the renown, which she did not mind, but then he blamed her when things got bad.

Ostensibly, this is a story about the flight, but, in actuality, it is a story about a love that grows so big that it eventually pops. Larry is determined to achieve his dream at any cost – and he pays the price.

McCullagh and Hoskins are incredible as the quirky couple, and their chemistry is electric. The core four is rounded off with Gillian Hardie as “Carol’s Mom”, a cocktail-sipping, classy lady who thinks that Larry is a loser but ultimately supports him, and Lejaun Sheppard as Larry’s old friend, Ron, who takes some (but not too much) convincing to be involved with the flight.

The only other named characters are “The Kid” (Tinovimbanashe Sibanada brilliantly covered Maddison Bulleyment on press night), who appears twice and might jut make you cry, and Letterman (yes, David – played perfectly by Simon Anthony, who is unrecognisable in that wig!).

The characters are all wonderfully written, characterised, and performed. They are all thoroughly likeable and sympathetic. But there is a little lack of depth, backstory, and development. Larry and Carol develop wonderfully over the course of the play but we never learn much about their lives before. Carol has a mom, yes, but that only complicates things – what about her dad? What about Larry’s mom? Ultimately, Carol’s Mom and Ron serve to compliment and advance the story of Larry and Carol. We never really get to know them as individuals.

The writing is sharp, witty and charismatic. Godfrey’s knowledge of the ’80s – especially as a young man – is incredibly impressive. The writing is scattered with ’80s references that will have the audience – especially those old enough to remember the ’80s – gleaming with nostalgic joy.

However, the second act struggles to reach the sky-high standard of the first act, or surpass the drama of the flight scene – even though the second act should be more dramatic, what with the stressful fallout of the flight. The second’s act pacing issues slightly diminish the impact of these storylines and the momentum of the first act. This suggests a need for a little tightening before being released back into the stratosphere for a West End transfer, UK tour, or whatever the plan is.

As a sung-through musical, the show’s strength lies in its spectacular score, which sounds both ’80s and current – reflecting the show’s purpose as an ’80s story told for today. The score is unashamedly influenced by iconic ’80s artists, with some of the songs sounding like pastiches of hits from the era. There is everything from Cyndi Lauper to The Fresh Prince of Bell Air. There also appear to be some musical influences – maybe even a little Hamilton. 42 Balloons is, very much, a loving ode to both the ’80s and musical theatre.

The previously released ’42 Balloons and a Lawn Chair’ and ‘Lawn Chair Larry’ are blistering bops but there are also some beautiful ballads and dazzling duets.

Hardie transforms into a soul songstress for her introductory number, ‘Somebody’s Story’, in which she sings about her daughter’s relationship with Larry, AKA “a loser”. McCullagh and Hoskins will pull at your heartstrings in ‘Something as Crazy as This’, in which they sing about their love for each other and commitment to making their “crazy” dream happen. Hoskins gets to show off her angelic voice in the heart-crushing ‘Helium’. Sure to be a fan favourite is ‘1982’, a French Prince-inspired hip-hop bop performed by McCullagh and Sheppard.

The production’s design is bold and unique. Scenic Designer Milla Clarke cleverly locates the action inside one of the balloons, capturing the suffocation of Larry’s dream – initially terrifying, soon exciting, ultimately successful, but eventually devastating. The set is basically a curved white shape that eventually opens up (revealing the band), perhaps signifying the destruction of the dream as the characters are forced to reckon with reality, the real-world, and the consequences.

This does have a downside, however: it can feel a quite tight and compact. The production might benefit from a bigger stage.

Director (and dramaturg) Ellie Coote and Choreography Alexandra Sarmiento note the strengths and limitations of the unique set. The set actually has some stomps on the curved walls so that the cast can climb it and position themselves comfortably and safely. The electric choreography captures the epic 80s-modern hybrid of Godfrey’s spectacular score – which is orchestrated, arranged and supervised by Joe Beighton.

Andrzej Goulding’s dream-like video design and animation, the bold colours bouncing off the white walls, heighten the drama. Bruno Poet’s gorgeous lighting design captures the essence of every scene. Paul Gatehouse’s sound design is similarly splendid.

Natalie Pryce’s costume design is period-appropriate – and that is not a limitation when the period is the camp-tastic ’80s! Pryce excellently captures the distinct personality of each character: the nerdy Larry, the fun Carol, the elegant Mom, and the cool Ron.

42 Balloons is ambitious, unique, and often awe-inspiring. The writing is remarkable, the score is sensational, and the design is delightful. There are a few flaws but, overall, the show is far too much fun for an average audience member to care (and that is who this show is made for – not us miserable critics!).

42 Balloons runs at the Lowry (Quays Theatre) until May 19.

Photo: Pamela Raith Photography