Soundtrack Review: THE LITTLE BIG THINGS (ORIGINAL WEST END CAST RECORDING)

Creating any new musical theatre brings with it an element of uncertainty: what should the story be, what will it sound and feel like from a music and lyric perspective, and in turn, how do you make the latter feel accessible to the widest possible audience? It’s an incredibly complex and nuanced combination to get right, and each creative team will have different answers to those questions. In the case of The Little Big Things, it seems their approach lies in three major elements: authenticity, a score with a contemporary feel, and always keeping storytelling at its heart.

Adapted from the bestselling memoir of the same name by Henry Fraser, The Little Big Things tells the story of how a single moment can change your life forever, and ultimately challenge you to accept, adapt and be open to the possibilities such a change can bring.

In 2009, Henry has an accident on holiday that leaves him with life changing injuries: paralysed from the shoulders down and using a wheelchair as a result. Once a keen and talented rugby player from a family devoted to sport, both Henry and his family must adjust to the physical and emotional impact of the accident, and redefine their dynamic.

Opening at London’s newest West End theatre @sohoplace in September 2023, throughout the run a trio of songs were released, and January 5 saw the release of the complete original cast recording.

The way composer and lyricist Nick Butcher and lyricist Tom Ling have approached setting Henry’s story within the musical theatre realm makes for an incredibly exciting journey as a listener, because there’s a real sense of play and nuance throughout. The opening number “Never Coming home”, is an upbeat pop anthem, and yet by track three, where Henry’s parents are confronted with the severity of their son’s injury, we have a heart wrenching ballad.

The tone is always shifting depending on where the characters are emotionally at that stage in the story, but never loses sight of opportunities for warmth and fun, and that balance of light and shade allows us to connect with these characters more strongly; most powerfully seen through the songs given to the other Fraser siblings: eldest Tom (Jamie Chatterton), second eldest Will (Cleve September) and youngest Dom, who open Act II as a united front, determined to get the house set up properly for their brother’s return from hospital (“All I Need”) and two songs later “Sympathy” sees them confronting and telling some uncomfortable truths.

 Not only is the tone shifting, so too is are the musical influences: over the course of sixteen songs, the score encompasses pop, rock, gospel, folk styles to name a few, a commitment to a contemporary feel that invites those potential listeners who may not be familiar with musical theatre to discover Henry’s story; there’s a definite feeling that these songs could be enjoyed as stand-alone songs in their own right.

That being said, they are there to serve the story being told, and they do so tremendously well, and what struck me was how easily emotion and intent is conveyed, without any other context or the visual elements of theatre, and that’s testament to the cast’s incredible acting through song skills.

As touched upon above, Linzi Hateley as Henry’s mum Fran has the third song in the piece: “One to Seventeen” where in the wake of devastating news, she reflects on every year of Henry’s life up until that point. The vulnerability she evokes alongside her maternal pride is extraordinary, and brings a chill to the spine and a tear to the eye.

I’m also incredibly fond of “Miles and Miles”, the solo for Andrew, Henry’s dad. Over repeat listens (the whole album has an endearingly catchy quality and you will find some songs grab you and won’t let go), Andrew’s solo became one that moved me deeply, because my connection to and understanding of it changed. Andrew starts the song reflecting on a boat trip the family took, and yet ultimately I felt it becomes more deep and meaningful than that, and is actually him processing and acknowledging what his family have gone through and how they will continue to keep pushing and moving forward. The two parents have very different emotional arcs, with Fran perhaps being more open and accepting of how she is feeling from the beginning, whereas Andrew’s realisation is slower, and perhaps more poignant for being so, and Alasdair Harvey expresses that dynamic beautifully.

Elsewhere, wit and warmth are in the very capable hands of Amy Trigg (Agnes) and Malinda Paris as Dr Graham, and Gracie Mcgonigal shines in “The World is Waiting”, where she leads the charge to show Henry he is loved, before being joined by the rest of the ensemble to close the first act.

Of course, anchoring it all we have Jonny Amies, and Ed Larkin, both playing Henry: Jonny before the accident, and Henry after. Both of them have solo numbers that pack an emotional punch for different reasons, Jonny’s (“Silence of the Sea”),  sees Henry reflecting on the past, while Ed’s sees Henry come face to face with a self he doesn’t recognise (“Why”) and each performer brings charm and nuance on their own, but it is the fact they directly interact throughout that totally brings this piece to life, as they bounce off and react to each other.

As someone who has seen the show twice prior to the album being released, I was already familiar with the context and performances, but what I found really struck me while listening was that I gained a newfound appreciation for the technical perspective: the intricacy of the harmonies, the presence of each instrument, how the voices blend, and so on, particularly in the ensemble numbers and the title track. To be able to appreciate a musical from both storytelling and the technical points equally has been a rare and treasured treat, and opens up the potential for repeat listens always giving you something new to discover.

The Little Big Things shares “the extraordinary story of an ordinary family”, with a cohesive, confident vision; and its ultimately uplifting message will resonate in many different ways, and leaves me hopeful for the future of new work and representation in the industry more widely. With the show closing on March 2, it’s a delight and relief to have this bold, endearing new musical captured for posterity.

The Little Big Things runs at @sohoplace until March 2, with the cast album digitally available now

Photo Credit: Pamela Raith Photography

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