Staff Writer Mohana Mitra reviews KMT Society’s production of ‘Fame’ to examine how an older story stands in relation to a contemporary lens.
Saying that I was skeptical of ‘FAME: The Musical’, before watching it for the first time is quite an understatement, having heard from multiple sources about the dated nature of the original production. However, excusing the aforementioned accusations since it’s virtually impossible to adapt most scenes for a contemporary audience without compromising the plot, the King’s Musical Theatre society does a marvelous job of working with what’s available to them. As indicated by audience reviews, FAME by KMT society was overwhelmingly entertaining and heartbreaking at the same time, with awe-inspiring performances!
The story deals with the lives of a group of teenagers who aspire to be extraordinary entertainers, coming together in their quest for eternal fame at the High School of the Performing Arts. Through their journey till graduation, they go through highs and lows, romantic relationships that last and some that don’t, ultimately discovering themselves as they grow up in a high-stakes environment that demands only the best from them.
Some characters like Carmen, the protagonist, end up cracking under the pressure while some others like Serena seem to flourish in the environment. Carmen struggles with an addiction to diet pills that ultimately costs her life, not before she drops out of school to try her hand at instant fame in Los Angeles. The other characters like Lulu, Joe, Serena, Nick, Schlomo, Goody and Lambchops all graduate from PA successfully, having decided what they want to pursue for the rest of their lives and having honed their skills. The character of Ty, meanwhile, struggles through the year due to her reading difficulties and doesn’t manage to graduate with the rest of them. Overall, the story is a testament to the gruelling, demanding and cutthroat nature of the performing arts industry while also showcasing the passion and talent that goes into it, even though not all might make it to everlasting fame.
The musical deals with some particularly hard-hitting topics, subjecting it to quite a lot of controversy – such as the Latina protagonist dealing with a drug-abuse problem and ultimately falling victim to it. Meanwhile, the dancer with a binge-eating problem is continually told by her teachers and peers to watch her weight, even though it poses virtually no barriers to her skills as a dancer. Moreover, there seems to be an emphasis on the black and other characters of colour failing in their careers repeatedly. And the only stereotypically gay character turns out to be in love with a woman in a twist of events that makes it seem like a classic case of queerbaiting.
However, the plot is a product of its time, having been adapted from the 1980 film of the same name. Yet it has managed to persevere in its popularity due to the musical numbers which transcend generations, even winning an Academy Award for the titular song. Quite clearly, as expressed by other reviewers, what the musical doesn’t have in terms of plot and story, it definitely makes up for in the music numbers and cast performances!
The casting for the KMT adaptation of ‘FAME: The Musical’ was indeed delightful in the sense that it was a joy to work with them for the limited time I was on set as a stagehand – from the dedicated hours put into the show for 3 months to the camaraderie between the cast members and the co-directors!
The entire cast and ensemble was memorable and spectacular in their own right, but a few in particular stood out to me! Keira Gandhi as Carmen Diaz, the protagonist, was a standout from the very first musical number and certainly deserved the applause she received for her version of ‘In LA’ – a scene that was equally uncomfortable (rightfully so) and breathtaking to watch as the audience. Kai Patel in the role of Joe Vegas was another standout, perhaps owing to the rowdy nature of the character itself, which he executed with perfection and a unique flair of his own. Some of the other cast members that stood out to me included Bea Watts as Miss Sherman, especially in her number ‘These are my children’ and the ‘Teachers’ Argument’, and Mabel Washington as Louisa (“Lulu”) Hughes in her number ‘Mabel’s Prayer’.
The choreographers, Senri Furukawa and Karen Kuroiwa, and the musical directors, Evelyn Chow and Sam Crawley, all deserve a special mention in my opinion, as the energy-packed dance numbers and flawless performances from the band gave this production its crowd-pulling effect, managing to give it the biggest opening night in KMT history!
