This summer’s offering from Amsterdam’s Broadway in Carré season delivers an important and touching tale of human resilience. However, confusion resigned from the outset. The Little Big Things premiered in London’s Soho Place in 2023 and is yet to venture west and hit Broadway’s hallowed turf. Granted freedom to create her own vision interpretation, director Ola Mafaalani’s result is a show which ticks all the diversity boxes, but sadly, falls short on nuanced storytelling. More a ticker-tape parade than an interactive stage with a spine-tingling sound-system which greeted the London audience.
The origins
Based on the best-selling memoir of promising young British rugby player Henry Fraser whose life-changing spinal injuries sent shockwaves through a nation, the musical is the joint creation of Nick Butcher, Tom Ling and Joe White. Credit then for tackling such important yet thorny issues in such a sensitive and thought-provoking manner. Additional quips complaining about Belgium added a distinctly local flavour. In the able hands of pianist Jasper Slijderink, a succession of rock, pop and jazz numbers propelled the action forward. However, it was apparent that key members of the Dutch cast struggled to fulfil all the vocal demands. Straying into audience boxes for the final number, it also became glaringly obvious just how much certain cast members depended on their mics.
Searching for emotional complexity
Joy Wielkens as Henry’s mother Fran brought emotional integrity as she wrestled with questions parents across the land could relate to. Likewise, Lucia Zemene’s touching vocal interactions as Katie, and the subtle introduction of her prosthetic leg whilst courting Henry, gave pause for thought.
Pre-injury Henry played by Dutch actor Djavan van de Fliert appeared alongside British actor Ed Larkin, who had made history as the first wheelchair user to play a lead role in London’s West End. This gave a clear insight into their thinking. However, colourblind casting and aforementioned vocal struggles created some awkward moments.
An inconsistent portrayal of Henry’s disability likewise added an unnecessary layer of confusion. If, as we were told, he was injured from the shoulders down, why could he use his arms to whizz around the stage? Why could he even ‘dance’ on the floor or crawl across the stage on his knees? Any intended poignancy when departing the hospital or holding his brother’s hand for the first time was subsequently lost.
Facing the music
It was not all doom and gloom. The show has some genuinely moving moments. Act II’s increased production value with the addition of rain and red lighting enabled a long-awaited exploration of family tension, personal guilt and wider ramifications of such seismic changes to family life. Nevertheless, interaction with physio Agnes (Tessa Jong Poerink) seemed to focus more on her own physical challenges. Henry’s struggle to hold his head, to sit upright or even to use his iPad or paint were swept aside or not even addressed. And subtleties in the English text, in lines such as ‘Can you feel it?’ and the use of the word ‘swingin’’ were completely overlooked, meaning the evening at times felt like an opportunity missed.
Completely undeterred, a small but eager (and mostly Dutch audience) gave a surprisingly warm reception. I wonder what next year will bring?
The cast
Clare attended the performance at the Carré Theatre on Thursday 2nd July
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