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The quick answer is yes, as a delightful wave of nostalgia and comedy permeates the entire evening. The script is sharp, colourful and always interesting and the cast is superb across the board, including as ever a very strong ensemble.
James Killeen as Jimmy is tasked with the role of manager and getting the band together and he is full of character as much in the background keeping as tight a grip on this motley gang of youngsters (and one OAP) as possible, as when at the forefront. I also delighted in his rather sweet solo number, pining for an ability to sing as well.
The poster of The Commitments declares “starring Coronation Street legend Nigel Pivaro”, however, don’t come to the show for that, as starring is very loosely applied here, as while he does very little wrong, his role pretty much consists of sitting reading a newspaper and saying “shite” at a few occasions. A box-ticking and ticket-seller policy of the poorest magnitude really. Come for the rest of the cast instead.
Working through The Commitmentettes is randy OAP of the group Joey the Lips, and Stuart Reid plays the role well, but, it is extremely odd casting with the pool of talent out there not to cast someone appropriate to the age, rather than to obviously age up a younger performer. No criticism at all of Reid, but, definitely a disappointing decision made by casting.
The rest of the group is excellent as is the ensemble in general. There is a delightful turn by Ronnie Yorke as the thug with a heart Mickah, really entertaining. Also noticeable for his impact on the ensemble is Ed Thorpe, extremely humorous in many of his little turns in the background.
The musical numbers are, as expected, excellent, and this is where the meat of the show of course is, so, these don’t want to be a disappointment. While none of them was disappointing, without question the musical number of the show is Papa Was A Rolling Stone. It was a simply excellent moment and the highlight of the whole show.
The brevity of the story, the novel on which it is based in only 144 pages, for instance, does result in the story being over quite early in the second act. Therefore to counteract the fact that this means the show is relatively short, The Commitments has an extremely long curtain call of music. It is excellent in that it allows the performers to further showcase their talent, especially Gardiner, and also McIntosh, who also manages to showcase his talent of repartee with the audience during his numbers. However there might be some though who desire a more solid storyline and then just a couple of rousing reprises of numbers from the show for the curtain call, and those that do might find themselves itching for the end of this show’s final showcase.
The Commitments is not quite as good as anticipated perhaps. The story is very, very slight and leaves too many characters plying for our attention and as a result, we just end up knowing them for an over-emphasised characteristic and have no room to find the character at their soul. More story, more time to tell the story as well, and less of the would-be concert at the end, and this could have been a must-see. As it is, it still comes recommended but set your bar a little lower and you might be more pleasantly still entertained.
The Commitments entertains but lacks a little depth and soul to be a classic.
⭐⭐⭐⭐
