Theatre Review: Tom, The Musical at The Alhambra Theatre

Stopping on its UK tour, new musical Tom brings the Valleys’ crooner to Bradford where LEO OWEN caught the show

Riding on the coat-tails of recent hits like Sunny Afternoon and The Jersey Boys in celebrating the rise of legendary super groups and singers, Theatr na nog present Tom, The Musical. A stage show about Tom Jones has arguably been long-awaited; you might imagine an enthusiastic following but the audience is surprisingly thin. Given the mediocre vocals in the opening Irving Berlin number, Let Me Sing and I'm Happy, it’s perhaps for the best.

An industrial backdrop represents Tom’s family mining background and a “local” narrator emphasises his small beginnings. Early talents are recognised through pub gossip and the narrator’s “memories” of a four year-old Tom Woodward’s first public performance. From here, his story and journey is swift, from getting his 15 year-old girlfriend Linda pregnant to his first YMCA gig with The Senators, moving to London with a pound a day allowance and later infidelities.

Despite flashy lights and projected backdrops, the first act of Tom falls flat. Accents slip in and out; there’s a cheesy fight sequence with a drawn out musical accompaniment and Tom’s desperation to be a star is out-shined by Linda’s agony. As Tom, Kit Orton, seems to be play acting and holding back in his performances, arguably to show progression – unnecessary, considering that from the outset the power of Tom’s voice is repeatedly mentioned.

Thankfully things pick up in the second half with a stronger opening song as Orton finally starts sounding more like the gigantic vocal chords he’s trying to impersonate. Sandie Shaw’s rejection of It’s Not Unusual and Tom’s successful single release, prompts the show’s pivotal turn as Orton finally performs a variety of well-pitched crowd-pleasers.

In an oddly abrupt but feel-good ending audience participation is encouraged in a singalong medley and dance off to some of Tom’s most popular hits, including What’s New Pussycat and Sex Bomb. Without an ensemble or dancers, this is not a traditional musical in any sense, merely songs performed as the band practise or woo the crowds. The closest it gets to a conventional musical is his self-doubting train platform performance, followed by a short exquisite solo from Elin Phillips as the sorely under-used Linda.

Predictable and apt fodder for a South Wales theatre company; a pleasant way to pass an evening but unlikely to be a West End hit. Those originally part of Tom’s following are however, likely to enjoy re-living his rise to fame.

Tom, The Musical showed at The Alhambra Theatre April 19-23.