Jack the Ripper preyed on vulnerable women and butchered them. So, a musical based on his crimes? How could the Union possibly make light of such a horrific deed? They did not, and it was beautifully played out with empathy, passion and humour, writes Elizabeth Paul...
We entered a Victorian music hall in Brick Lane to the tunes of Daisy, Daisy and Where Did You Get That Hat. For a moment I forgot that this is Whitechapel 1888 and got into the proper East End spirit of it all: singing, laughter and alcohol. That is probably what the girls on the street did, before being dragged down a dark alley and disembowelled. Of all Jack’s victims it is Mary Kelly’s crime scene picture that is embedded in my mind: a shady, monochrome photo of a slaughtered corpse, sans face and dignity. Here Mary is a living, breathing woman that reminds us she was real, not just a specimen on a morgue trolley.
There are so many colourful characters here. Matthew Ibbotson’s amazing operatic voice gives depth to his dual role as a pathologist and as Jack Pizer, a.k.a. Leather Apron, a Jewish bootmaker who was briefly arrested as a suspect. Everyone who visited Whitechapel in 1888 is crammed into this: Suffragettes, Salvation Army, toffs, cops, doctors and immigrants. Fantastic Gemma Salter’s role as Rose is the vehicle that gels it all together.
As the death toll escalates Mary sits in her lonely little room singing to the accompaniment of her music box, her only possession. It is truly touching. After Mary’s death the remaining women congregate to sing ‘A Violet From My Mother’s Grave’, which she was reported to be singing before her murder. It sent shivers down my spine.
There is no blood and guts here; the company sing the words of the autopsy report and the letters reputedly sent by Jack. That is quite enough to appreciate the horror. This is the best thing I have ever seen at the Union. Forget the East End; it should be up the West End.
Southwark News, June 2011
The gruesome murders of 19th century prostitutes don’t initially strike one as the perfect topic for a new musical - but the result is an energetic, if rough around the edges, romp through the alleys and public houses of London’s East End, following the unlucky citizens of Whitechapel as they’re terrorised by the anonymous Jack the Ripper.
1888 is a bawdy gambol with an excellently dark second act, enthusiastically undertaken by the cast... Some of Gerry Ware’s songs are utter gems – the Ripper choruses and ensemble tunes are particularly stand-out...
Brave is the writer who aims to reflect not only one of the greatest unsolved crimes in British history, but the hardship and squalor, the heady political landscape, journalistic ‘integrity’ and the ever-continuing class warfare of the 19th century. It’s a lot to pack in after all...
The cast, though, do fantastic overall, with stand-out performances from Stephanie Hampton, Phineas Pett and Dudley Rogers. Their energy and enthusiasm is commendable. It isn’t difficult to see that 1888 has the potential to transfer to a bigger stage, with a bigger cast and would, after a little work, do so brilliantly.
That said, the Union Theatre offers something wonderfully intimate in its space and helps achieve a sense of community within the characters that the writing doesn’t always accomplish. Plus, all credit to the choreography and direction that the cast whirl around the stage and make excellent use of the space without high-kicking any audience members in the jaw. 1888 is worth a viewing to be sure.
It's 1888 and Jack the Ripper is making a nuisance of himself in London's East End. But this new musical by Gerry Ware is not your typical ‘Ripper’ story: there’s no element of whodunit, and the blood and gore is kept to a respectable minimum. Saying that, do expect a rather descriptive song about how his final victim is brutally mutilated, with lyrics like “her breasts were cut off”, sung in eerie harmony, solemn as you like.
Thankfully, 1888 focuses on the era itself; the working conditions, the power imbalance between men and women, the rich/poor divide and, of course, the media frenzy surrounding the horrific incidents of the time. The themes are linked together by two love stories. First of all, we have an unlikely ‘chalk and cheese’ pairing between a lady of the night and a Salvation Army do-gooder; Mary Kelly (Stephanie Hampton) and Meriweather Sim (Vlach Ashton). Their relationship faces two battles – can Meriweather accept Kelly's ‘career' choice and can she escape the notice of the Ripper? The second relationship follows Detective Constable John Beck and his flamboyant housemaid-turned-music-hall-star girlfriend Rosie Walker (Gemma Salter). She is wooed and won over by the stressed-out detective but she finds that turning up late to their dates is the least of his problems...
Thanks to the increasing death ratio, the first act is much more upbeat than the second but the music kicks off from the word go and we’re warmly welcomed into the heart of the East End. There are girls, guys, banter and booze and a good ol' sing-song as the talented cast radiate a fantastic energy. The voices of Gemma Salter and Vlach Ashton deserve particular praise; both are able to send shivers down spines and raise goosebumps. And unlike some musicals where the great singing leads to neglect of the acting, the acting here is brilliant.
Thankfully, there are no caricatures, which is quite a feat considering the setting of the piece and the nature of the characters. Stephanie Hampton’s performance as Mary Kelly is particularly moving, especially during her solo ‘Someone I Once Knew’. In addition, the dynamic between Hampton and Ashton creates an undeniable chemistry. They are believable, even during The Time Step and other odd dance moves.
Already nominated for two Off West End awards, as new musicals go, this is a very good one. 1888 runs at Union Theatre until 2nd July.
Spoonfed.co.uk, Jo Suthers, 2011
"In Paris, the rise of the modern city - and the unknown "status" of the growing army of women who worked in the bars and cafes dotted about its streets - provided inspiration for Edouard Manet: in London, it provided inspiration for Jack the Ripper. In the 20th and now 21st centuries, French Impressionists and urban serial killers are still irresistible material for artists. As you might expect, 1888 (at the Union Theatre until July 2) has no mention of Montmarte's white church, but plenty of London's Whitechapel.
Rosie (Gemma Salter) and Mary (Stephanie Hampton) sing in an East End pub and scrape a living, the former on her knees, the latter on her back. Enter dedicated detective John Beck (Stephen Lloyd) and earnest evangelist Merriweather Sim (Vlach Ashton). Soon the Met's man falls for the maid and the preacher hooks up with the hooker. The two couples' love affairs twist and turn, with plenty of advice coming from salt of the earth Eastenders that you may have seen a few times before in musical theatre havin' a rare ol' knees-up. But the murders are getting closer and closer to Rosie and Mary and something has to be done."
"...the two central love stories are strong and acted and sung beautifully, especially by Vlach Ashton and Stephanie Hampton, the two sub-plots involving a theatrical impresario and an early suffragette are under-written, suggesting that there's only room for one only. Laudably, Ware does not shirk from underlining the hideous nature of The Ripper's crimes, with a chilling song the lyrics of which are no more, and no less, than an account of the injuries suffered by a victim - a very London Road moment in a play that has some parallels with The National Theatre's big hit.
Broadway World, Gary Naylor, 2011
"Gerry Ware's new musical (which Spinal Tap fans will be gutted he didn't call 'Saucy Jack') follows the exploits of detective constable John Beck and housemaid Rosie Walker as they attempt to crack the Jack the Ripper murders.
Whodunnit - the misogynist doctor, the green copper, the Sally Army puritan, the pioneering journalist, the celebrated actor with a particular talent for playing monsters, or the Polish cobbler with the big leather apron and the solo style that's a tad Peter Sellers?
With a swiftly revolving carousel of suspects, slanting neo-gothic set, a script alert to the social forces of the time and 25 songs as tightly packed as its audience. Creator Gerry Ware has written songs for Connie Fisher. He flashes a more subversive streak - in a mock-spiritual called 'Eight Little Whores'. A discordantly modernist rendition of a post-mortem report wouldn't have been out of place on Scott Walker's 'The Drift'."
Time Out Magazine, Bella Todd, 2011. Visitor Rating *****
"The story of Jack the Ripper holds a continual fascination with musical theatre composers, which is surprising considering the lurid nature of the violent attacks and ultimately a lack of any real conclusion. Gerry Ware attempts to address the climate of social change taking place during this period and points to the influence that new journalism had on the investigation."
"Ware has created a lively though predictable score, and his libretto balances the humour, drama and terror with flair. The cast, however, give it their all and Simon James Collier and Omar F Okai’s direction keeps the story moving with a strong sense of purpose, pace and style. Gemma Salter as Rosie and Stephen Lloyd as John Beck give the story its central romance, but the relationship between Stephanie Hampton’s Mary Kelly and Vlach Ashton’s Salvation Army soldier is far more interesting."
"Ultimately the polemic of the story is presented from a contemporary perspective... Ware’s piece might have a further life..."
The Stage, Paul Vale, 2011
"Undoubtedly history's most infamous serial killer, Jack the Ripper has inevitably become the subject of numerous books, stories, documentaries, films, poems, plays and, more recently, musicals. Jack's spirit must be exhausted, if not down right fed up, with all the exposure he has received. Gerry Ware, therefore, has done well to shift the emphasis from the man himself by titling this musical rendition at the Union "1888". What he attempts to do is to paint a picture of London at the tail end of the nineteenth century, tackling the events of the long hot summer of that eponymous year.
The star of the show is David Shields's set. Colourful and chaotic, it lures the audience into the seedy backstreet taverns and music halls of the East End. The music works best when it strays from its Victorian pastiche. "Eight Little Whores" and the suitably dark "Mary Kelly Post-Mortem" bring out the black humour of the story. "Someone I Once Knew" also stands out; a eulogy to one of the Ripper's victims, sung by Mary Kelly (Jack's final victim - touchingly played by Stephanie Hampton) shortly before she meets a similar fate."
“Gemma Salter and Stephen Lloyd make an excellent pairing as Rosie and John… Vlach Ashton’s innocent Meriweather and Stephanie Hampton’s Mary makes them almost more engaging as they sing out their differences in 'Chalk and Cheese'... packed with vitality… excellent band…”
"…it does serve up a reminder of the way that the Whitechapel murders helped fuel the demand for political and social changes and there is a bitter edge to the rollicking “Eight little Whores”
The British Theatre Guide, 2011
"From the opening, 1888 lays its goods bare: all the actors parade the stage with dance and song as the architectural and colourful set announces a full-bodied and multi-sensory production. The bawdy, lace-ridden dancers shimmer over the East-End drunks as the two 'saviour-cum-feckless' male protagonists – DC John Beck and the Salvation Army's Merriweather Sim – attempt to show a lurid contrast to the 'slum'. For as much as you try to take this light-hearted musical production for what it is – and there are moments of cabaret hilarity..."
"Gemma Salter... the almost-heroine Rosie Walker. Her operatic soprano revealed cultivated vocal talent, while her saucy smirks matched her feline swagger to create a most charming tart-with-a-heart-of-gold. Elsewhere, the most impressive theatrical achievement were the opposing dual roles of the actors - Vlach Aston's feeble and spiritually troubled Merriweather cleverly off-played his other duty as the emotionally unfettered Detective Inspector Abberline, while Steph Parry and Matthew Ibbotson’s roles in the upper-class Fozzard family illuminate the inaccuracy of judging class and guilt via physical appearance by showing the actors in the contrasting capacities of noble female rights activist and immigrant Jew respectively."
"The music itself is free, festive and foot-tapping... bringing out the best in the sharp and frisky drummer Janette Williams... Once immersed within a song and pocket of music, there’s a delicate charm that deserves mention and praise, not least the absurd and frisky ‘Eight Little Whores'"
"Charlie Lucas’s lighting is of such quality – especially the sharply executed (!) murder scene where blue lights, paired with Okai’s physical direction, create a clever shift in setting between inside the pub and out..."
"From the acting to the music, to elements of the direction and sheer ambition of the production as a whole, the play has exquisite ingredients..."
"As lovers drawn into the dark world of the Ripper, Stephen Lloyd (Detective Constable Beck) and Gemma Salter (Rosie Walker) are engaging, and Stephanie Hampton’s doomed Mary Kelly gives a plucky performance that makes you care for her fate, while as her Salvation Army suitor Vlach Ashton is suitably torn between love and morality. Matthew Ibbotson and Steph Parry both do sterling double duty as both society couple and, respectively, murder suspect and social reformer, and Angeline Bell brings a cocky charm to her role as Coxy..."
Exeunt Magazine, 2011
"An impressive first outing for '1888'. New musicals are a deceptively difficult art form to get right, with so many factors to take into consideration. However, this Okai Collier production really has made some courageous decisions as to how to present such a well-tested and covered subject matter, and have truly created something of a minor triumph at the Union Theatre. Obviously this production needs a larger cast, a bigger space and 'bigger' musical arrangements, but even with these 'limitations' this is an extremely entertaining production and one that shouldn't be missed. I see that it's already been nominated for 2 Off West End Awards... deservedly so. *****"
Whatsonstage.com, Visitor review - Sydney Allsopp, 2011
"An impressive first outing for '1888'. New musicals are a deceptively difficult art form to get right, with so many factors to take into consideration. However, this Okai Collier production really has made some courageous decisions as to how to present such a well-tested and covered subject matter, and have truly created something of a minor triumph at the Union Theatre. Obviously this production needs a larger cast, a bigger space and 'bigger' musical arrangements, but even with these 'limitations' this is an extremely entertaining production and one that shouldn't be missed. I see that it's already been nominated for 2 Off West End Awards... deservedly so. *****"
Whatsonstage.com, Visitor review - Sydney Allsopp, 2011
