An Officer and a Gentleman: The Musical – Review – Hull New Theatre

By Rachel Howard, November 2024

Despite the film An Officer and a Gentleman being released more than 40 years ago, there are still plenty of us that have that final, breathtakingly romantic scene etched in our memories. Who wouldn’t want to be swept up in the arms of Richard Gere – fully kitted out in his US Navy uniform?!

And it would seem I’m not alone with that memory as the auditorium fills up at Hull New Theatre for opening night of the musical version of the hit movie. It’s not a sell out but full enough for the disappointment to be palpable when we’re told that “due to unforeseen circumstances” the show will be delayed by 30mins. Not the ideal start, and a real rarity in my experience at the theatre, so we sit back and hope the show will be worth the wait.

When the curtain finally does go up, we’re thrown straight in to the story of a group of new recruits starting the US Navy Aviation Officer Candidate School. It’s a motley crew, headed up by our main man, Zack Mayo, played by Luke Baker. Zack is a troubled soul… after his mother commits suicide, he is sent to live with his alcoholic US Navy Petty Officer father, but can’t wait to escape his father’s clutches, and turns to the military for his way out. Joining Zack are his classmates Sid Worley (Paul French), Casey Seegar (Olivia Foster-Browne) and Eduardo Cortez (Lucas Piquero). The whole class is looking to the Navy for a way out – they’re determined to be successful enough to not only fly the nest, but take to the skies for their country too.

But they’re not the only ones looking for a way out… the local women working at the nearby factory are relying on the Navy trainees to marry them and carry them off into the sunset. Yes, it’s an old-fashioned idea, but we must remember this storyline is 40 years old, and the musical stays true to the film – even where it may make modern audiences a little uncomfortable.

“Powerhouse”

Predictably enough, it’s not long before our Naval candidates meet up with our factory girls. Zack and Paula Pofriki try to keep things casual, but you can probably guess how that pans out! Meanwhile, Worley falls head over heels for Lynette Pomeroy, but (without revealing any spoilers) their union is far from perfect, providing the audience with the darkest and most emotional moments of the show.

So that’s the plot – but is the show worth the wait?

Well, I’m not entirely sure it is, and it disappoints me greatly to say that, as there are some wonderful performances on show here. So let’s start with the positives…

Firstly, the vocal talents of Luke Baker as Zack – his voice is velvety-smooth and he’s pitch perfect in every song. Powerful yet vulnerable, he plays the role of Zack wonderfully, and I think he’s definitely a name for the future. Alongside Luke, special mention goes to Paul French playing Worley. This isn’t an easy character to navigate, he has to delve into some pretty dark places, but also tap into a comical and lighthearted side, and Paul does this with ease. His performance of ‘Family Man’ is a real standout moment. Melanie Masson plays the role of Esther Pofriki (Paula’s mother) and wow – what a voice! She’s a powerhouse of a vocalist and never fails to grab the audience’s attention.

Music is a key part of this show – and played an important part of the original film too. The end sequence playing out to ‘Up Where We Belong’ by Joe Cocker and Jennifer Warnes is the most infamous part of the film, and 80s music has been given a lead role in the musical version too. Anthems including ‘Blaze of Glory’ (Jon Bon Jovi), ‘Girls Just Wanna Have Fun’ (Cyndi Lauper), ‘St Elmo’s Fire’ (John Parr), ‘Heart of Glass’ (Blondie) and ‘Toy Soldiers’ (Martika) carry the story and bring energy and vibrancy to the stage, courtesy of a fantastic live band.

“Drowned out”

However, this is where things go a little pear-shaped. As good as the music is, I find it doesn’t always have a relevance to the story. There are more than a couple of occasions where I feel songs have been shoehorned in for the sake of it, rather than to enhance a particular plot line. It’s disjointed to say the least. Madonna’s ‘Material Girl’ just doesn’t fit well and leaves me cold.

Despite the vocal talent of the main stars, some singing voices are verging on shouting; yet ironically, the spoken dialogue is often difficult to understand, either being drowned out by music or lost in over-the-top American accents.

The set is pretty basic, which is understandable for a touring show, but in comparison to other productions I have seen recently, it lacks atmosphere. Thankfully, the lighting is a different matter, and Ben Cracknell (Lighting Designer) deserves a mention for some really inventive techniques.

By the time the cast take to the stage for their final curtain call, there is a decent attempt at a standing ovation, so by no means do the whole audience leave disappointed. I hear a real mix of opinions as we are leaving, and I certainly wouldn’t class this as a flop. It is a good evening of entertainment, but, frustratingly, it has the potential to be so much more.

Fans of the original film will be delighted that they have stuck so faithfully to the original storyline, and 80s music aficionados will revel in the catalogue of hits covered. But if you’re looking for that little extra sparkle that takes a musical from good to brilliant, you may well find yourself short changed by a show that, unfortunately, fails to hit the right note.

‘An Officer and a Gentleman The Musical’ is at Hull New Theatre until 9th November
images: Marc Brenner