17/03/26

The Royal Lyceum, Edinburgh

The genius of David Nicholls’ 2009 novel lies in its central conceit, with July 15th assuming a profound significance. According to folklore, St Swithin’s Day’s weather is prophetic: whatever we wake up to that morning, come rain or shine, we’re in for another forty days of it. For Edinburgh students Dexter and Emma, it’s the date of their graduation party – and it signifies the start of something destined to last a lot longer than six weeks. Their 1988 brief encounter on their final night in the city is the start of a lifelong friendship. We catch up with them every year on this symbolic day for a snapshot of what they’re up to, sometimes together, sometimes apart. Though occasionally wobbly, the relationship survives their divergent paths as they navigate their respective ways through the minefields of adult life: careers and families, dreams and disappointments. The structure allows for an expansive narrative while still focusing on the minutiae. No wonder screenwriters couldn’t wait to get their mitts on it, as evidenced by the speedy release of Lone Scherfig’s 2011 film, and – more recently – the 2024 Netflix miniseries.

And now, perhaps inevitably, there’s this musical – a co-production by the Lyceum and Melting Pot, adapted by David Greig and directed by Max Webster. With music by Abner and Amanda Ramirez, One Day is both exuberant and memorable, a fitting celebration for the Lyceum’s 60th anniversary.

From the moment we enter the auditorium, there’s no mistaking the extravagance and ambition of Rae Smith’s design; the venue has been reconfigured beyond recognition, creating an in-the-round performance space from this 19th-century end-on theatre. We’re in tiered seating on what is usually the stage; the lower stalls are covered with a revolving wooden floor; the proscenium arch is lined with bulbs like a Hollywood mirror, reflecting the other half of the audience back at us. There are cabaret-style seats as well, making this an altogether different experience from the more traditional one we’re used to here. It’s exciting and audacious, priming us for what’s to come.

Dexter (Jamie Muscato) and Emma (Sharon Rose) make an appealing pair. They’re stock characters in a way – his posh-boy entitlement contrasting with her scrappy working-class determination – but they’re fleshed out enough for us to see beyond these stereotypes. If first-class honours student Emma is infuriating at times – settling for too little, with her job in a crappy restaurant and a boyfriend (Dan Buckley) she doesn’t love – then Dexter is immeasurably more so, squandering his unearned privilege and refusing to grow up. But we care about them too: they’re sweet and funny and vulnerable in their own ways, and we want them to succeed, both individually and together. The two leads are perfectly cast, imbuing the protagonists with warmth and humanity – and their vocals are impressive too.

The ensemble provide outstanding support in a variety of guises, from key characters such as Dexter’s parents (Josefina Gabrielle and David Birrell) and Em’s best friend, Tilly (the wonderfully-named Miracle Chance), to a crowd of 90s ravers and a whispering maze. Webster’s direction is overtly theatrical, playing with dramatic techniques to excellent effect. I especially like the physical manifestation of Dexter’s breakdown, as the actors cling to a literal lifeline, encircling him in his despair.

Carrie-Ann Ingrouille’s choreography complements and enhances the sprightly tone of the production, the 14-strong cast often seeming more numerous. Musical director Nigel Lilley leads his band with a matching ebullience, so that – despite the poignancy of the ending – the over-arching mood is one of verve and vivacity. It’s a clever balance.

Of course, I can’t leave this review without mentioning Imogen Brown, one of three young actors playing Dexter’s daughter, Jasmine. We’ve chosen tonight’s showing specifically because Imogen is performing: I know her from a drama class I teach. She’s every bit as professional and engaging as I would expect her to be, the role adding depth to Dexter’s character, as well as hope for his future.

A fabulous production all round, One Day: The Musical well deserves the success it has already achieved in its Edinburgh debut, and is sure to consolidate this when it transfers to the West End.

5 stars

Susan Singfield