Review: FRINGE FIX: MOTHMAN: A ROMANCE MUSICAL, Underbelly Soho Boulevard

There is something wonderfully appealing about a musical which makes absolutely no attempt to behave itself. Mothman: A Romance Musical, presented by Finger Guns and Liebenspiel, embraces chaos, absurdity and B movie comedy to create an energetic and hilarious evening of musical theatre. Set in West Virginia, the story follows a trio of Mothman hunting teenagers who become embroiled in an unexpected love triangle. Combining absurd comedy, new musical theatre songs and a deliberately heightened B movie aesthetic, the production knows exactly what sort of ridiculous world it wants to inhabit.

We are initially introduced to Professor Bumbleshaft, played by Hudson Hughes,who is determined to find Mothman and expose the truth. His investigation does not go particularly well, however, as he is brutally eaten by a bear. It is an early indication of the wonderfully unpredictable tone which follows. The focus then moves to Anna, played by Alex Franklin who is searching for the mythical creature alongside her best friend Natalie, played by Nikola McMurtrie and boyfriend Kevin ,played by Alex Prescot. Having followed the Professor’s online ramblings, the trio have created their own mission to find the monster lurking in the darkness. Natalie brings a particular enthusiasm for cooking, nature and guns, while Anna finds herself increasingly drawn towards the very creature they are supposed to be hunting.

When Mothman encounters Anna, an unexpected romance begins to develop. There is also a pub landlord, a French Mole, who is rather enamoured with Mothman, creating an increasingly complicated situation of unrequited love. Performed by a cast of four, the production makes particularly good use of its performers, with the company frequently multi role playing to populate the increasingly bizarre world around them. The deliberately heightened performances suit the material, allowing the cast to lean fully into the absurdity rather than attempting to ground the story in realism. The comedy is at its strongest when the production simply commits to its own ridiculousness. There are clues throughout suggesting that everything is gradually descending into chaos, while PowerPoint presentations are incorporated into the action to enhance the storytelling. It is a deliberately scrappy and playful approach which feels particularly suited to the show’s absurb sensibilities.

One of the highlights is a flying sequence between Mothman and Anna, which provides a surprisingly charming moment within all the madness. The production also delivers a particularly strong dance break, with the choreography adding another burst of energy to an already lively performance.The musical numbers are equally willing to embrace the show’s unusual premise. Rather than attempting to disguise the absurdity, the songs become another opportunity to heighten it, creating a succession of comedic moments which help maintain the production’s fast pace.

An interesting thread runs through the relationships, particularly the psychological observance of anxious attachment dynamics which emerge between the characters. Beneath the monsters, guns and deliberately ridiculous comedy, there is a romantic story at the heart of the production. Mothman: A Romance Musical is ultimately a blend of chaos, energy and comedic songs. It will not be for audiences looking for traditional musical theatre, but for those who enjoy absurd humour, B movie aesthetics and a show which is entirely comfortable with being gloriously strange.

It is silly, energetic and unapologetically bizarre, but importantly, the cast understand the world they are creating and commit to it wholeheartedly. Mothman revels in silliness, mock horror and embracing chaos.

Mothman: A Romance Musical ran at The Edinburgh Fringe and was selected to be performed as part of Fringe Fix at Underbelly Boulevard Soho on 10 September