Exiting Dave Malloy’s original and timely a cappella musical “Octet,” you may find yourself hesitating before checking your phone.
After all, the bold 95–minute work, receiving a fine production at Crow’s Theatre, deals with people obsessed with the internet, including the powerful little computers glued to their hands. Are you one of them?
The premise is that eight internet addicts meet in a church basement for a 12-step support group. In Joshua Quinlan’s evocative set, a humble little coffee station is set up at the side. Uncomfortable-looking metal chairs are arranged in a circle on a wood laminate floor.
Since the group’s mysterious founder, named Saul, has been called away on a coding issue, Paula (Zorana Sadiq) takes his place as leader. As she leads her fellow addicts through the steps, it soon becomes clear how widespread, and even philosophically disturbing, this problem is.
The conceit? Rather than speaking their stories, prefaced with the words “My name is (blank) and I am an addict,” the group members take out a pitch-pipe, settle their nerves and sing them instead.
And so we get a song by a woman named Jessica (Jacqueline Thair) who’s become internet famous for a certain “white woman gone crazy” viral video. She’s turned off her notifications and tried to install blockers on her devices, but she can’t resist searching for her name and hitting “refresh” to view the comments.
Henry (Damien Atkins), meanwhile, is obsessed with playing candy-themed tile games. When he has a few days off, he’ll often stay in bed, won’t shower or brush his teeth, addicted to the dopamine rush of exploding pieces of colourfully crushed sweets.
Karly (Hailey Gillis) and Ed (Giles Tomkins) share a duet about a related addiction: she can’t get enough of swiping left and right on dating apps, while he’s obsessed with internet porn.
And so on.
Like many pleasurable but addicting activities, the show — directed by Chris Abraham — initially delivers a big jolt of excitement.
How refreshing to hear some gorgeous choral harmonies without any instruments! The lyrics are so funny and relatable! Oh look, the intentionally drab and realistic set comes to life with some surprising, state-of-the-art lighting effects all over the theatre! (The lighting designer is Imogen Wilson.)
But after a few numbers the high wears off, and you’re left feeling slightly numb and in need of another fix. Taken individually, “Natasha, Pierre and the Great Comet of 1812” composer/lyricist Malloy’s songs are beautifully constructed, with textured, allusive lyrics and lots of witty wordplay. One or two would fit beautifully in, say, a cabaret setting.
While the numbers range stylistically from soothing chamber choir piece to twangy country and western songs, the work’s lack of momentum and a palpable goal for its characters drags down the middle section.
Malloy has cited dozens of works — everything from “Black Mirror” episodes and “A Chorus Line” — as influences here. But where the latter musical gets us involved in its characters’ lives, “Octet” introduces us to people and often doesn’t return to them. It also introduces huge societal themes — social isolation, cancel culture, rage-baiting — only to drop them. A theme about being lost in the forest and encountering a monster feels pretentious.
Still, the cast is impressive, and under music director Ryan deSouza, their voices blend together with pitch-perfect accuracy. Especially remarkable is Tomkins, whose effortless bass-baritone provides firm support for many numbers. And Alicia Ault absolutely nails her solo number about finding connection with another woman through the internet. She provides the heart and soul in a show that could use a lot more of both.
Cameron Carver’s choreography adds lots of kinetic energy to the proceedings, and because audiences sit on three sides of the playing area, everyone will get to appreciate the show equally. On opening night, Olivia Wheeler’s sound design was so clear, you could appreciate every one of Malloy’s clever lyrics.
“Octet,” a co-production between Crow’s Theatre, Soulpepper and the Musical Stage Company, might not be to everyone’s taste. But in a theatre landscape where every other musical seems cobbled together from pre-existing pop songs, something this original and thought-provoking feels — and this word comes up a lot in the show — “refreshing.”
Go ahead and type that into your group chat. Just wait until after the show to do it.
