Stuart King — Theater Critic

With some fine ensemble work from the cast (which includes Jack Butterworth, Alex Gibson-Giorgio and Letitia Hector) the bar scenes with their raucous mix of pick-ups, fights, and line dancing, occupy the eye in director Trip Cullman’s production. Meanwhile the book by Callie Khouri and songs written by Neko Case provide an unmistakably southern feel which is less musical theatre and more raw-indy-rock-meets-moody-ballads in style.

Scenes loop back and forth so often in an attempt to be vibrant and engaging, that they forget to be coherent, which in its current format is the production’s major weakness. However, THE STORY has undoubted merit when it ceases in its attempts to be shocking and instead focuses on the real impact of the media’s forensic depiction of stereotypes. A pity then, that a play largely set within the tainted and jaded world of newspaper journalism, is overwhelmed by imagery of newsrooms and live-from-the-scene, mic-holding, beige-mac-wearing, cliché-riddled hyperbole-touting, US TV reporters (massive yuck!)

Ultimately then, a stylish piece which is well-acted, cleverly crafted and slickly presented. But don’t take children or easily bored individuals (like the glamorous airhead who sat fidgeting in the seat in front of me). They’ll only annoy those patrons determined to apply their own focus and attention.

The cast’s energy and talent is showcased and driven by an accomplished modern score, delivered by a 6-piece band who occupy 3 distinct panels above the main playing area. Final mention must go to the sleek, stylish and technically effective set design delivered by Chloe Lamford, redolent of her previous work, most notably her impressive Phaedra at the National Theatre Lyttelton last year.