An Officer and a Gentleman The Musical Review

Reviewed by Mark Johnson at Nottingham's Theatre Royal

Tickets were gifted in return for an honest review.

The 1980s classic movie, An Officer and a Gentleman is brought to the stage as a jukebox musical filled with hits from the time but does the musical soar to the heights or have a crash landing?

Georgia Lennon (Paula Pokrofki) and Luke Baker (Zack Mayo). Photo by Marc Brenner.

In truth, it's somewhere in between the two. Excitement builds pre-show with sounds of the era filling the auditorium and excited audience members reading the show's brochure. The potential of this show is never fully imagined as it stutters and slogs its way with tunes often feeling shoe-horned in and the excellent cast in a constant battle with the volume of the 5 piece band.

The story is little changed from the film with moments such as that iconic finale included. It follows a new group of US Naval Officers who arrive for Jet training. Upon arrival at the facility in Pensacola, Florida the recruits find themselves under the order of the merciless Sergeant Emil Foley (Jamal Kane Crawford) who takes no prisoners and warns his recruits that the local girls are desperate to meet and marry a pilot.

Among the group is Zack Mayo (Luke Baker) who arrives leather-clad on his motorbike. He is a superb leading man, with great stage presence as he battles through his own demons and his constantly fraught relationship with Sergeant Foley. His cracking vocals delight, especially in 'Blaze of Glory' in the first act. A meeting with local girl Paula Pokrofki (Georgia Lennon) changes Mayo who must keep a cool head to check through the course as an officer whilst also being a gentleman.

Lennon shows her own powerhouse vocal range with a sensational rendition of 'Alone' midway through the second act. Although it's another number that is essentially wedged into the piece, it is definitely one of the musical highlights of the performance. The relationship between Mayo and Pokrofki is played out well between Baker and Lennon, their chemistry works well together and you can't help but be struck by the iconic finale scene alongside 'Up Where We Belong'.

The most interesting character is Sid Worley (Paul French), he arrives at the training following the death of his brother in a jet crash, his own anxieties are clear whilst he has a great boyish charm. French is outstanding throughout but the second act journey of the character is expertly captured as he brings the inner demons to life. The relationship between Worley and Lynette Pomeroy (Sinead Long) is well realised. Pomeroy is a complex character that you wish had more time the reasons for her behaviours. Long’s provides more powerhouse vocals to the piece.

Paul French (Sid Worley) and Luke Baker (Zack Mayo). Photo by Marc Brenner.

The best scenes in the show are the ones at the Naval base with Crawford’s menacing Foley delivering brutal drills as he demands the candidates DOR (drop on request). There’s a stunningly realised fight sequence between Foley and Mayo which showcases what could have been with this production. Joanna Goodwin’s choreography is slickly imagined and the fight becomes a dance as much as a fight.

Olivia Foster-Browne impressed as Casey Seegar, the performance is determined and passionate driving forward the character’s hope to pass through as the first female jet pilot. As an audience you instantly root for her. 

In a great company there’s strong supporting performances from huge voiced Melanie Masson as Esther Pokrofki and Tim Rogers as Byron Mayo. 

Director Nikolai Foster is a safe pair of hands but even he can’t quite wrestle with this piece for it to reach its heights. Visually it’s a striking watch with Michael Taylor’s metallic set design aiding the feel with Ben Cracknell’s always excellent lighting once again being a hit. The lighting helps add emphasis and feeling to throughout.

It’s in the sound that the show struggles the most. The balance of vocals to the music is often off and it feels like there’s a battle going on throughout. Wendi Harriott’s Aunt Bunny suffers the most as her show-stopping voice is lost and drowned out. It’s a shame that at this point in the tour that things haven’t struck the right balance.

The 80s hits also don’t always feel like they belong and there are strands of the plot that don’t quite land or feel fully realised. It leaves the show stuttering which becomes a real shame. Its outstanding company is certainly let down by the material. 

Jamal Kane Crawford (Sergeant Foley) and Olivia Foster-Browne (Casey Seegar). Photo by Marc Brenner.

It does provide fun escapism but it leaves you wanting more. This soaring tale of would be jets pilots has a stuttering engine. 

⭐️⭐️⭐️

An Officer and a Gentleman runs at Nottingham’s Theatre Royal until Saturday 3rd August 2024. Tickets are available from https://trch.co.uk/. The tour continues with dates booking until 9th November 2024, visit https://www.officerandagentlemanthemusical.com/ for venues and dates.