Stalled musical at King’s Head Theatre – review

Worlds collide in Seattle’s nicest smelling, bougiest public bathroom, when Maggie (played by Lauren Ward) takes a job as a cleaner and becomes everyone’s unsolicited therapist and confidante – whilst simultaneously battling her own demons. Based on the award-winning short story “Stalled Symphony” by Liesl Wilke (Carve Magazine, 2011) and set amidst the backdrop of the plush stalls, this musical is a cosy experience, but occasionally falls flat.

The show opens with the titular musical number immediately showcasing the immense talent on stage. Accompanied by a live band, each number reveals deeper layers of the story that remain unspoken in the dialogue. The lyrics, co-written and composed by Wilke, Andy March, and Kyle Puccia, serve as additional beats in the characters’ lives, though at times feel contrived and clichéd. While the actors deliver phenomenal performances, the text come across as one-dimensional, which unfortunately underscores the rest of the play.

Musically, the composition and arrangement work well, with the orchestra — Livi Van Warmelo, Saran Davies, Amy Shaw, and Isis Dunthorne — attuned to the energy on stage and in the audience. Equally, the live vocals are exceptional, with not a dry eye in the house during “Fly”, performed by Ward and Rebecca Jo-Roberts.

Josie Benson is both humorous and callous in her role as Cynthia, a high-achieving mother struggling to accept that her autistic daughter, Emma (played by Grace Venus), does not fit into her plans. Regina Co shines as Krystal, battling her health, her heart, and the weight of her strict parents’ expectations. Evita Khrime delivers a compelling performance as Serena, the angsty teen who writes spoken word and navigates an inappropriate relationship with a man ten years her senior. Their perspectives coalesce in fleeting moments within the public bathroom stalls, where Maggie, the matriarchal cleaner, offers advice.

Emily Bestow’s set and costume designs are some of the most impressive in recent memory. For 90 minutes, the audience is transported to a world where toilets smell pleasant and plush hand creams invite them to “pamper yourself.” The use of the small space to create such an expansive environment is to be lauded, with the set feeling fresh and integral to the story. Despite this and the cast’s undeniable talent, however, Stalled never quite finds its momentum — in many ways, it lives up to its name.