Theatre Review – The Osmonds: A New Musical

AD: This Press Night Review refers to the 2022 Touring Production of The Osmonds: A New Musical at the Alexandra Theatre, Birmingham*

In the mid-1970s, a five-strong group of singing brothers from Utah were capturing the hearts of the nation. Selling over 100 million records worldwide. Recording 28 albums. Appearing on – and hosting – a string of variety TV shows. The Osmonds were more than just a bubble-gum pop group. They were an empire. An all-singing, all-dancing, teeth-dazzling, wide-collared, jump-suited empire. Osmondmania was a real thing.

Until it all started to go pear-shaped.

This fascinating insight into America’s most wholesome pop family is narrated by Jay Osmond. Yep, one of the Osmonds that WASN’T Donny or Jimmy. Who even knew the others had names?

And as the real-life Jay Osmond was heavily involved in developing this production, this is a straight-talking account of what “REALLY” happened behind closed doors. Well, from Jay’s point of view. Growing up in a strict Mormon household, with forceful father (Charlie Allen) driving them hard towards fame. The pressure to succeed. Upholding the family’s whiter-than-white reputation. Before eventually losing everything at the height of their success.

“It doesn’t matter who’s in front, as long as it’s an Osmond“

This is a jukebox musical, using the Osmonds back catalogue to move along the narrative. Soulful and angsty numbers accompany emotional moments, whilst more upbeat numbers are showcased within the group’s musical performances.

I probably could have counted the Osmonds songs I knew on one hand before the show, and admittedly many of the 30 songs were unfamiliar to me. But “The Proud One”, first act closer “Let Me In” and the finale of “Love Me For A Reason/He Ain’t Heavy/Crazy Horses” were my personal highlights.

There’s a large cast, with both child and adult performers taking the roles of the Osmonds through the ages. The rotating junior cast capably play The Osmonds as a teeny-tiny barbershop quartet, finding fame on crooner Andy Williams’ television show.

The child cast at this opening night performance were Herbie Byers (Donny), Jayden Harris (Alan), Austin Redwood (Wayne), Dexter Seaton (Merrill), Miles Redwood (Jay) and Austin Riley (Jimmy).

Alan, Wayne, Merrill and Jay are joined by heartthrob Donny. Little brother Jimmy has his own flourishing career in Japan. Their sister Marie also occasionally joins the party as they grow up and start to mature into a very different rock n roll sound.

“Faith, family and career”

Alex Lodge takes on the role of adult Jay Osmond, all floppy hair and boyish charm. He has the audience in the palm of his hand, smoothly leading us from scene to scene. He interacts invisibly with the younger version of himself and his brothers, even joining in with dance routines.

Merrill (Ryan Anderson) walks the line between enjoying the glitz and glamour of showbiz, and its harsh realities. He’s unable to marry the woman he loves as he has to be “accessible” to teenage fans. Anderson has a great stage presence, and probably the best voice of the boys in the group. It’s no surprise to learn that Merrill took the majority of vocals for The Osmonds discography.

To be honest, we don’t really get to know Alan (Jamie Chatterton) or Wayne (Danny Nattrass). It would be difficult to pick them out if they weren’t colour-coordinated like Power Rangers. But there is an authentic chemistry between the siblings, and we’re totally invested in their relationships.

Donny’s big moment (played by Tristan Whincup for this performance) comes early in the second act with “Puppy Love”. The audience – largely age-appropriate for Osmonds fans – go nuts. Piercing screams fill the auditorium. Scarves are waved in the air. There hasn’t been so many flushed faces in the Alex audience since Michael O’Reilly took off his shirt in Dirty Dancing.

Despite the boyband being central to the story, it is Georgia Lennon as Marie Osmond that is the vocal highlight. Lennon manages to deliver the standout performances of the night, particularly “Paper Roses”. She also bounces perfectly off Tristan Whincup as Donny, in scenes from their variety show.

Lucy Osborne and Sam Cox have created a wardrobe and hairstyles that could have fallen straight out of the 70s. In fact, the technicolour staging and costumes take us right through the decades, with the show culminating in the 2007 Osmonds reunion show. Bill Deamer’s choreography also captures the changing eras brilliantly.

The first act is so joyful and sugar-coated that it’s all almost jarring when narrative tension is dropped into the second act. The squeaky-clean family weren’t known for drama and scandal so it feels a little forced. The instruments are played off-stage, despite a snippet of storyline which sees the group transform from a vocal group to musicians. If you’re a casual fan, waiting for those two big songs, there’s a long wait.

Unusually the show was disrupted by two medical emergencies in the audience, which slightly marred the whole experience. I hope all involved got the attention required. Bravo to the Alex staff that got medical assistance quickly and kept the audience controlled during two lengthy delays in what was quite a long show anyway.

It’s gentle, feel-good and upbeat entertainment, but will probably only ever be truly (puppy) loved by those squealing super-fans.

The Osmonds: A New Musical is at the Alexandra Theatre, Birmingham until Saturday 29th October 2022. Purchase your tickets here. The UK Tour continues until December 2022; for a full list of dates and to buy tickets, visit The Osmonds: A New Musical website.

All production photos by Pamela Raith