The Lion
St. James Studio, London, U.K., September 3, 2014
Reviewed by Mychelle Colleary for Cabaret Scenes
After months of seeing shows that were good but somehow lacking, what an incredible breath of fresh air it was to have encountered this perfect musical gem, The Lion.
This one-man autobiographical tale rests comfortably somewhere between musical theater and cabaret. Promoted as a theatrical piece, its intimate nature, conversational manner and response to audience engagement definitely put it in the realm of cabaret.
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Benjamin Scheuer enters a stage already set with guitars. And here he conveys his experiences of loss, guilt, anger, love, more loss and physical adversity with the succor of songs and several guitars that seem to serve as anchors, tethering chronological events and their emotional significance.
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From the beginning, reminiscing about pretending to play like his dad with a homemade cookie-tin banjo toy to his first proper guitar, through the electric metal teenage rebellion and beyond, Scheuer’s guitars are his tools of expression. The songs are primarily folk-pop in sound, nuanced by skilful rhythmic playing and harmonics.
The situations described in Scheuer’s story cover common tribulations—antagonistic parental relationships, death, love, illness, and enlightenment. While somewhat unique in his having experienced so much in adolescence and early adulthood, it is not the strife itself but the awareness and candor, the precise articulation and honesty of the delivery that make this work so powerful.
Scheuer reveals himself emotionally, peeling back onion-like layers, giving voice to unspoken thoughts and emotions each audience member has likely experienced at one point or another in his or her own life, but denied saying aloud (or admitting). The utter silence of the audience throughout and some rolling tears poignantly support this notion. Revealing himself metaphorically as well, Scheuer removed pieces of his outfit along the way, first his jacket, then tie, then shoes and socks.
In what seems like a story told in casual conversation, Scheuer presents his saga and songs with such connectedness to the message and audience, his words never feel stilted or staged.
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The Lion has a judiciously written script facilitated by subtle yet powerful direction that supports the narrative. It’s not flashy. It’s just a small, well-crafted show that transcends the moniker of musical entertainment to exist as art.
