Wed 22nd February 2012


Jade Symons

at 09:46 on 23rd Feb 2012



When the writer of a show also takes the lead role, it usually sets alarm bells off in my head. However, Love/Lust did not feel at all like an egotistical cry for attention. Rather, it was an impressive offering from Timmy Fisher, which showcased not just his own considerable talents, but those of his fellow cast members too.

Izzy Osbourne, Hannah Howie and Elissa Churchill all sang beautifully, really bringing the emotional side of the songs out. The times when all three harmonised were stand-out moments of the performance, and I can only wish it had happened more often. Other sit-up-in-your-seat moments were provided by the undeniably talented Timmy Fisher, when he really extended his vocal range into the upper regions.

There were a few musical ‘discrepancies’ throughout Love/Lust, but these were entirely forgivable considering the impressive breadth of the score. They were also in no part the fault of the band, who performed with great energy and seemingly effortless skill, throughout the performance.

The plot seemed fairly uncomplicated (and somewhat unoriginal), but bearing in mind the running time was under an hour, this was perhaps unavoidable. For much of the time, Love/Lust seemed to be an exploration of those awkward moments in a relationship which everyone must face sooner or later. This gave the performance an universal appeal, and generated several knowing laughs amongst the audience.

The speech sections between the songs seemed a little awkward – in particular the ‘drunken’ scenes. However, this seems to be fairly typical of musicals, both amateur and professional, and it didn'’t detract massively from the rest of the performance.

Whilst the spoken parts of the script left a little to be desired, Love/Lust was overall an entertaining watch. The music in particular was excellent, and Timmy Fisher has great potential in this area. It would, I feel, be a real shame if he did not continue to pursue it.


Florence Strickland

at 10:05 on 23rd Feb 2012



For me, what is so exciting about new writing is that you are watching a show, which has never been performed before, interpreted for the very first time – who knows what will happen? Hence in Love/Lust we find Timmy Fisher, the creator of the musical, and the lead character, Jamie, sauntering onto the stage and defending the man on a one-night stand. What proceeds is a highly successful presentation of three typical situations we all face in encounters with the opposite sex.

Situation number one introduces us to the setting of a New York bar with a few glasses and bottles on the counter as the band at the back plays the catchy, jazz-like score with gusto – a real achievement alongside the script. Chris Guard carries the music on the keyboard, with the bass and drums creating a vibrant musical trio. Jamie demonstrates the typical machinations of taking home an unknown girl in a bar with the powerful voice that rolls the show along. It is a testament to directors, Douglas Gibbs, and Joe Leather, as well as choreographer Sinead Leahy, that the humour in the script, and the nuances of character were realised well. Hence, with equally powerful vocals, Hannah Howie as Mia performs the plight of the woman waiting for her man “on the lash”, with an effortless command of the stage. Mia waits miserably on the bed, placed opposite the bar – the only elements of the set, which perhaps simply sum up the two motivations of Jamie at the beginning of the musical.

Contrastingly after this failed attempt at a relationship – resulting in the number “I only want her when she doesn’t want me” – Jamie decides to give real emotion a go, surely realising the cringe-worthy element of the play’s description with a song which describes how, “you fall to sleeping while I stroke your face.” The girl in question is Elissa Churchill as Charlotte, with yet another powerful voice which ensures the professional quality of the musical.

Moving from lust to love sees Jamie beginning to develop from the arrogant, self-termed “whore” at the beginning, to a man deciding to be a person he can be proud of by the end. With the basis of any Rom-Com, Timmy Fisher ensures that this is a depiction of romantic exploits with a difference, partly due to the simple but witty humour throughout– “I smell the Jaeger on her breath”, being one of my personal favourites. This makes it a charming and humorous, self-contained piece, which entertained the audience from beginning to end.


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