Beyond the Fence
Musical

Arts

Beyond the Fence

22 Feb 2016 - 05 Mar 2016

£15.00 - £35.00

Pro reviewers rating
7 reviews

2.6 out of 5.0
Peer reviewers rating
0 reviews

0.0 out of 5.0

  • Synopsis
  • Cast and creatives
  • Venue details
A powerful new musical about hope, defiance, unity and love. Set in September 1982, it tells the story of Mary and her daughter George who are celebrating one year of living at the Greenham Common peace camp. The group of women they have joined are all committed to stopping the arrival of US cruise missiles through non-violent protest. When Mary is faced with losing her child to the authorities, an unlikely ally is found in US Airman Jim Meadow. How can she continue to do what is best for her daughter while staying true to her ideals?
 
Conceived and “substantially crafted” by a computer, based on a statistical study on the “recipe for success” in popular musicals. Dr James Robert Lloyd, Dr Alex Davies and Professor Sir David Spiegelhalter from Cambridge University looked at aspects of musicals from cast size to backdrop to emotional structure and several premises were generated by the What-If Machine at Goldsmiths, University of London. The computer-generated story and melodies were further developed by composers Benjamin Till and Nathan Taylor, in a process that has been filmed for a new TV series on Sky Arts.

Casting tba.
 

Arts [Fringe]

“This experiment in musical theatre reveals a worthy subject but its futuristic composition still presents a heap of traditional ”

Paul Vale (The Stage)

“It is quite good... The enjoyable – if unmemorable – score and strong cast mean that it isn’t entirely mechanical... Formulaic. ”

Time Out (Other reviewers)

“It won me over... While the story and songs work fine, the thing that makes it zing is the human-chosen setting. ”

Holly Williams (What's On Stage, Time Out, Independent)

“Appears to have been created by a committee of Guardian readers... Weighed down with issues rather than buoyed up by humanity. ”

Neil Norman (Express, The Stage)

“Sounds just like a musical composed by a computer. ...as bland, inoffensive, and pleasant as a warm milky drink. ”

Lyn Gardner (The Guardian)

“The mechanics of plot overwhelm the specifics of the setting, and the whole thing drifts, inexorably, into cliché and sentiment.”

Matt Trueman (What's On Stage, Time Out)

“Amiable, well intentioned and nowhere near good enough. ”

Dominic Maxwell (The Times)

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