This blog post was written for East Midlands Theatre.
Based on the 1982 film of the same name, and adapted for the stage by the film’s screenwriter Douglas Day Stewart, “An Officer and a Gentleman” transports us to 1980s America, where young Navy officers are training to become fighter jet pilots. The setting is immediately apparent from the various snippets of 80s American radio that plays as the audience enters, and the neon fighter jet that lights up the back of the stage.
The show is interspersed with a mix of 80s pop and rock anthems, that bring additional energy and excitement to the performance. The opening number “In the Navy now” sets the gritty tone of the Naval camp, and introduces us to our main protagonists Zack Mayo (Luke Baker) and Sid Worley (Paul French), who both dream of piloting jets but have their heads turned by local factory workers Paula (Georgia Lennon) and Lynette (Sinead Long). Both Baker and French are well-suited to the roles, providing excellent vocals throughout, and it is a joy to see their friendship develop across the two-and-a-half-hour show.
The songs performed by the factory workers are breath-taking. A highlight of the show comes early in act one, as Paula and Lynette join with their co-workers to lament their situation in “This is a man’s man’s man’s world”. The stand-out of this number has to be Paula’s mum Esther (Melanie Masson), who is able to bring a certain gravity to the number, whilst also sharing various comedic and tragic scenes later in the play. The entire production is supported by backing singers and dancers who all help to bring the toe-tapping numbers to life.
The chemistry between the two main couples leaves something to be desired. Lennon’s Paula feels slightly wooden at points, particularly when Zack finally opens up to her about his past, only for her response to be a lacklustre “That must have been really hard for you”. It is unclear whether this is the intention of the director – after all, it would appear that the relationship between Zack and Paula is built on sex rather than any deeper attraction, but this fact means that the ending of the play doesn’t quite stick the landing. The characters could have done with a bit more time to form an emotional attachment and to allow us to become properly invested in their romance. It doesn’t help that Paula and Zack’s heart-to-heart is surrounded by one of the weaker numbers of the musical, “Kids in America”.
Standing in Zack and Sid’s way is the formidable Gunnery Sergeant Emil Foley (Jamal Kane Crawford, clearly relishing the villainous role). Whilst strict and tough on the Naval officers, we do see a softer side to him at points, and Crawford is able to subtly play these undertones which are not overt in the text. It’s a shame that we don’t get to find out more about Foley’s past, as Crawford is clearly more than capable of hitting the emotional beats.
There is an engaging sub-plot that unfolds surrounding Olivia Foster-Browne’s Casey Seegar, a candidate who dreams of being the first female fighter jet pilot. She is constantly mocked by Foley for her gender and “ghetto” upbringing, and struggles to get over the climbing wall in the training camp due to her height. It is clear that she will eventually succeed, but this doesn’t make it any less exciting to root for her. Unfortunately, her success only comes after a pep talk from Zack and a helping hand from the other male candidates. In a play where the patriarchy is apparent all the way through, it would have been nice to have seen Seegar succeed on her own without a male helping hand.
The set for the play, from designer Michael Taylor, is simple, with a range of different scenes brought to life with the introduction of a single piece of furniture, or various neon lights. The industrial feel of the scaffolding that surrounds the characters at all times is reminiscent of a prison, echoing not only the confining nature of the training camp, but also the desire from the factory workers to escape their repetitive lives. The sound design (Tom Marshall) helps to create a tense atmosphere, with the sounds of cocked guns and fighter jets echoing around the auditorium at the more exciting moments of the show.
Overall, this is a fun night at the theatre, with a soundtrack that is sure to have you clapping along at points. The plot is wafer thin, cheesy and predictable, so if you are looking for high stakes drama, this is not for you – if you just want to relax, enjoy the music and leave with a smile on your face, then this should be right up your street.
Tom Morley, July 2024
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