Review: Our House at Winstanley College

There’s an embarrassment of riches to be found in this superb performance

‘Our House’, the Madness song which gives its name and themes to their musical, is a brilliant example of the band’s deceptive complexity. At face value, it’s exactly the kind of jaunty ska revival number that leads some to dismiss Madness as just a bit of fun. But look closer.

Lyrically, it’s a heartfelt celebration of working-class domesticity. Kids play out and shirts get ironed. The busy mother is houseproud and there’s the triumphant claim that the house is ‘our castle and our keep’. But such warmth and pride are shot through with troubling thoughts. There’s the ambiguous ‘something’ that ‘tells you you’ve got to move away’ – a simultaneous fear of leaving and desire to escape - and the pensive awareness that the mother is ‘the one they’re going to miss in lots of ways.’

Like much of Madness’ catalogue, the song masterfully balances light and dark, exuberance and melancholy. Capturing that intricacy on stage isn’t easy. Yet the cast and crew of Winstanley’s Our House turn it into a simple equation – dedication times talent equals a superb performance and a brilliant night at the theatre.

Set in Madness’ very own Camden Town, Our House centres around teenager Joe Casey. Desperate to impress his girlfriend Sarah (Tehya Driver), Joe breaks into an abandoned flat on the night of his sixteenth birthday. Someone calls the police, and Joe must make a choice to run away, or face the music. Taking inspiration from Sliding Doors, the plot then splits down two paths – the wrong and right.

Joe’s paths are narrated by the spectre of Joe’s dead criminal father, played by Toby Devereux. Across the musical – but especially in ‘Simple Equation’ and its reprise - Devereux lends a striking gravitas to the play’s message that we can’t predict the consequences of our actions. He finds the subtlety in the character, paternal and wise in a way that drives home the sorrow that such wisdom comes at the terrible cost of his mistakes. The moments where he frets and aches for the mistakes made by the two different versions of Joe are really touching.

On the point of the two Joes - playing two versions of the same character is a dream role for a performer, but also a demanding one. As Joe, Alfie Dunkerley is up to the challenge. He is outstanding, running the whole gamut of emotion and dramatic impact – from youthful joy in ‘Our House’, to mischief and hilarity in ‘Driving in My Car’, then crashing into anger and despair in ‘The Sun and the Rain’. Dunkerley’s remarkable consistency and charm, both dramatically and vocally, are striking – it seems exhausting, and it’s hard to believe such a young performer could pull it off so seamlessly.

Equally impressive is Tehya Driver, complementing Dunkerley with a grounding, heartfelt performance as Sarah, Joe’s love interest. She digs deep to bring out the character’s empathy and resolve as the musical’s moral compass. Driver is especially impressive in ‘Sarah’s Song’ – Our House is full of splashy ensemble numbers, yet this song stands out for Driver’s commanding stage presence, holding the audience’s attention by herself with a soulful vocal effort.

Smaller roles offer opportunities for standout moments too. Liam Aspinall leaves no scenery unchewed (in the best possible way) as Reecey, the ne’er-do-well who tempts both version of Joe in reckless, criminal behaviour. He brings a suitably raffish appeal to Reecey, best seen in his chaotic and high-engery rendition of ‘Baggy Trousers’.

Niall Rushton, Ashton Kenny, Amelia O’Donnell and Delilah Hassouna-Smith shine as Joe and Sarah’s friends. In a musical jam-packed with comedy, they shine especially bright with exuberant performances. As Billy and Angie, O’Donnell and Hassouna-Smith are wickedly funny, delivering their characters’ bards and putdowns with spiteful glee. Meanwhile, Rushton and Kenny perfectly bring to life the feckless lads Emmo and Lewis – their swaggering, confident performance of laddishness is as endearing as it is amusing.

Last but by no means least of the main cast, Phoebe Molyneux delivers in a touching turn as Joe’s mum. In ‘Our House’, the cast sing that ‘mother’s tired, she needs a rest’, and Molyneux’s excellent accent work and well-observed mannerisms really beautifully capture the character’s weariness and long-suffering love.

Supporting the main players, the ensemble are equally superb. Their work epitomises Stanislavski’s ‘no small roles, only small actors’ adage and is a wonderful example of teamwork at its finest. They shine as individuals in brief impactful roles as judges, employers, barristers, business-owners and secretaries, but also come together in spectacular fashion for big numbers like ‘Our House’, ‘Embarrassment’ and ‘Wings of a Dove’. Their collective energy and talent elevate the production hugely.

Similarly elevating is the presence of a cast of tremendous dancers, expertly led by dance captains Megan Barrett and Reese Oakes. There is some jaw-dropping choreography here, adding dynamism and vitality into the big numbers and enhancing the music and storytelling beautifully.

Finally, everything is held together seamlessly by the backbone of the production - the unseen but always-felt influence of the hugely talented band and creative team. The musicians bring Madness’ discography to vivid life across a dizzying array of styles and tempos, and the costumes, set-design, lighting and stage management add a polish and finesse that feels singular for a production of this scale.

Ultimately, Our House is a musical about the consequences of our choices. Fifty-two of Winstanley’s young performers, artists and technicians chose to commit months of their valuable time to this production, and the consequences are plain to see – they’ve created something masterful that lives up to the legacy of both Madness and Our House. If you’ve seen it, I’m sure you’ll agree… and if you didn’t? Suggs to be you.