Review - Unexpected Joy at Southwark Playhouse

Sophie Thomas
Sophie Thomas

Telling the story of three generations of female singers, Unexpected Joy captures the generational divisions that grow in relationships. Joy is reunited with her daughter Rachel and granddaughter Tamara, with the story following their week together in Provincetown, Cape Cod. Distant family ties between the trio are clear from the get-go, but when Joy's wife-to-be Lou enters the scene, the family bonds are pushed to their limits. 

Building up towards a concert in memorial of Rachel's father Jump, Unexpected Joy navigates themes of rebellion and homosexuality head-on. But, rather than the story naturally finding conflict, the issues are discussed so openly that the issues aren't developed naturally. Phrases like "homosexuality is a sin" felt as though they were said because it had to be mentioned to tick a specific box for Rachel, an antagonistic character with regressive values. Subtly suggesting opinions like these could have led to a greater exploration of her character.

As we never learn much about her father, it's hard to fully appreciate how Rachel (Jodie Jacobs) struggled as a child. Fitting into a different family jigsaw to the others, her storyline is subdued, yet when it progresses, it's predictable. The duet "You Are My Worst Nightmare" sung with Lou (Melanie Marshall) has the attack of a contemporary power ballad, but when the characters circle each other, it zaps the modernity out to make the song feel dated.

As young pop star turned happy-go-lucky grandmother Joy, Janet Fullerlove plays the role with aplomb. Leading the cast as the matriarch figure, her cool demeanour gave a Janis Joplin vibe that tapped into the simpler life of the swinging sixties. Pitting the free-spirited Joy against Rachel's stern parenting of Tamara (Kelly Sweeney) left her in the middle of a generational triangle, which worked well as a frame for the story.

It's hard to believe this is Sweeney's professional debut. "Like A Good Girl" was a personal highlight, and I couldn't help but be drawn to her innocence in the feuding world around her. Left to fend for her own emotions in the family triangle, she battled her own development against her mother's thoughts and her growing relationship to Lou, a relationship excellently played in the foreground and background that felt real. 

Bouncing against Verity Johnson's minimal yet homely set, the harmonies soared above anything else in this production. Led by musical director Gareth Bretherton, the cast powered through the score with the stamina of a full-bodied gospel choir. Songs lifted up an audience atmosphere which felt restless when in the middle of a long scene.

Constant referrals to the concert and aims to emulate that atmosphere in the theatre were not matched, with sound effects of audiences cheering making it feel like I was in an episode of Friends. It took away from the sincerity of a memorial concert, but there's possibility to engage audience members in the concert parts of the show. If worked on, this could create some shining moments of immersive theatre.

Unexpected Joy isn't the cleverest musical. Nor is it the most original or exciting. But, what it lacks in intelligence, it makes up for in good heart.

Unexpected Joy is currently at the Southwark Playhouse until 29th September. 

Originally published on

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