Review: THE TIME TRAVELLER'S WIFE, Apollo Theatre

When Clare’s search for inspiration for her next artistic project leads her to the library where she discovers Henry DeTamble, she is overjoyed. Henry, however is politely bemused by Clare’s enthusiasm and familiarity with him. Clare goes onto explain that she has known Henry since she was six, and is aware that he can travel in time, and the two forge a deep connection. Henry has no control over when or where he travels, and so Clare waits for his return.

Separated by time and uncertainty, as well as the pain brought about by absence, Henry and Clare fight to hold onto each other whilst everything threatens to pull them apart.

In his introductory note in the show’s programme, producer Colin Ingram remarks that his wife initially suggested that Audrey Niffenegger’s 2003 novel The Time Traveller’s Wife might make a good musical. He watched the 2009 film adaptation, and then returned to the novel and started thinking the idea of a musical might have promise. He noted that he felt the film got it wrong; “the story should be told through Clare’s eyes and not Henry’s… it would be best if the protagonist was Clare as an empowered female character in a much more even balanced relationship with Henry.” Lauren Gunderson was brought aboard to write the book, joined by Grammy Award winning artists Joss Stone and Dave Stewart on music and lyrics. Premiering at the Storyhouse in Chester last year, the new musical has now made its West End home at the Apollo.

What’s abundantly clear from the outset in Gunderson’s adaptation is a genuine love for and willingness to serve the source material – I was overjoyed to hear the novel quoted mere moments into the prologue, and to see the ending captured in full. There’s a warmth and sincerity in her writing that’s undeniable, but frustration comes in the inconsistency of tone. Particularly in act one, the tendency to inject humour often feel heavy handed, and the  frequent and sudden shifts  between comedy and drama feel jarring and prevent us from investing fully in the emotional stakes. That's not to say the comedy can't have its place, in particular Hiba Elchikhe's sassy Charisse shines on this score, but too often it's at its best in the direction and delivery of said humour, rather than the script itself.  

Act two feels much more assured and confident in its vision and character arcs, and it pays off so beautifully, particularly in an emotional scene where Henry reveals something to Clare. There's a simplicity and poignancy to the language in that moment that had tears openly falling, and I just wish there was more consistency in that intensity of feeling throughout the whole piece.

The production design, headed by Anna Fleischle is gorgeously evocative: the crown jewels being the illustrations projected to evoke setting - the watercolour syle backdrop of library shelves in Clare and Henry's "chronologically correct" first meeting, the park during one of Henry's first travels, the city skyline. There's also a neat nod to the passing of time in that the seasons change throughout the story, encapsulated by Andrez Goulding's video design which gives us hazy autumn sunsets and gently falling snow, alongside the touching motif of birds in flight, and striking visuals when Henry travels. Both are complemented further by the atmospheric lighting choices of Lucy Carter and Rory Beaton.

Having these points of focus in the design as an anchor is a massive help, as there are times when the pacing feels rushed, and certain scenes feel under-developed as a result. One in particular, an emotional father and son moment, peters out abruptly following a duet, and perhaps doesn't hit the mark as fully as it could. That being said, the nature of the beast here is time travel and the crux of the story explores moments that shape us, and so the frantic, disjointed element feels like a clever choice to reflect that. Speaking of time travel, Chris Fisher's illusions can be astonishing to watch -in particular the introduction to Henry's ability and his act two opener: "Journeyman".

It's admirable, especially where new musical theatre is concerned to build the sound of your show around so many different genres of music, but that's exactly what Grammy Award winners Joss Stone and Dave Stewart have done. The show encompasses pop, soul, rock, funk and ballads that might be more akin to traditional "musical theatre" sound. Though I find some songs lyrically more memorable than others, I felt musically they have a real charm about them, elevated by Nick Finlow's arrangements and intricate harmonies.

Though I found the writing problematic at times, the cast here are worth their weight in gold. In her long awaited first leading role in the West End, Joanna Woodward imbues Clare with such glorious warmth and vibrancy. Fizzing with energy and possibility when she meets Henry in her natural time and through act one, you can see by the start of act two the toll his absence takes on her and their relationship - and to see Joanna play that arc with such sensitivity and nuance gives me great pleasure having followed her career for eight years!

David Hunter is on familiar endearing ground as Henry, showcasing his easy likeable charisma to full force once more, with the vocal to match. It's been lovely to see him in a role with more conflict, and he comes alive in those scenes where he wrestles with the ramifications of certain choices he wants to make for Clare's sake.

Having originated these roles in Chester, the understanding of these two characters and the intricacies of their unusual relationship between Joanna and David is naturally there, and their chemistry will only grow stronger through the run.

The same is true for Tim Mahendran and Hiba Elchike, both larger than life and dangerously close to stealing every scene as Gomez and Charisse. There's lovely work too, from Ross Dawes as Henry's Dad, and Helena Pipe as Dr Kendrick. The dual role of Young Clare and Alba, shared by four young actors (played at my performance by  Poppy Pawson) also makes a strong impression despite relatively scant stage time.

Though it falls foul of some of the difficulties that come with adapting books for the stage, The Time Traveller’s Wife boasts an excellent cast and sheer commitment to its vision, soul and the message at its core.

The Time Traveller’s Wife is now open at the Apollo Theatre

Photo Credits: Johan Persson

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