★★★★★
You might not immediately recognise his name, but over the last few years it’s likely that you’ve heard the story of artist and motivational speaker Henry Fraser. After sharing his tale in a book which went on to become a Sunday Times Bestseller, The Little Big Things is now taking on its latest iteration in the form of a West End musical, playing at the @sohoplace theatre until 25 November.
On the surface, Fraser’s seems an unusual story to reinvent for the stage. At the age of 17, Henry suffered a catastrophic injury whilst on holiday in Portugal with his elder brothers. Damaging his fourth vertebrae after misjudging the depth of the seabed whilst swimming, Henry was given the devastating news that he was paralysed from the neck down and would never walk again. Six months later, against all odds, he wheeled himself out of hospital. With the support of his loving family, Henry has endeavoured to continue stretching the boundaries of his world ever since.
(Photo: Pamela Raith)
It’s so easy to experience a story like The Little Big Things and leave expressing sentiments of inspiration. And yet, the production team made it clear from the off how keen they were to steer clear of the traditional inspiring narrative surrounding disabilities. It’s certainly a refreshing approach to a West End show which, according to Director Luke Sheppard, claims the first leading role played by a full-time wheelchair-using artist. Instead, on the request of Henry himself, the team have packed The Little Big Things full of colour and wonder.
The vitality of The Little Big Things is in no small part down to the decision to split the role of Henry between two actors: the Henry of ‘before’ (Jonny Amies) and the Henry of ‘after’ (Ed Larkin) who more often than not appear on stage together. It’s a framing device which prevents the story from dwelling too long in the trauma and painful details of the story’s present, with Henry’s six-month stay in hospital depicted almost fleetingly. Nevertheless, reckoning with the new outlook of his life is explored within the conflict of the two versions of himself at every new challenge he approaches. The fact that Henry’s ‘after’ is so consistently present serves as an encouraging reminder of what he’s able to ultimately achieve, even in the moments where his courage seems to falter.
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Despite the crew’s best efforts, to say the show isn’t inspiring would do it a disservice. The Little Big Things can only be described as devastatingly uplifting, which is largely testament to the dauntless strength of the Fraser family. Henry’s brothers – Tom (Jamie Chatterton), Will (Cleve September) and Dom (Jordan Benjamin) – maintain such infectious energy throughout, banding together to support their brother despite privately processing their own sense of guilt over Henry’s accident.
Agnes (Amy Trigg), Henry’s physiotherapist, spends so much time with the Fraser family she practically becomes one of them. She is a driving force behind Henry’s recovery, dropping dry one-liners left, right and centre: it’s genuinely impossible to keep track of how many rounds of applause she earns. Theatre stalwart Linzi Hateley is arresting as Henry’s mother, Fran; her performance of ‘One to Seventeen’ is easily one of the most catastrophically heartbreaking moments of the show. Alaisdair Harvey is similarly excellent as Andrew, struggling to reconcile Henry’s future with the one he had imagined for his son. Nevertheless, despite their battles, the Fraser family prove that The Little Big Things is ultimately a story about the overwhelming strength of love: I challenge anyone to watch their dynamic and leave with a dry eye.
Ed Larkin and Jonny Amies (Henry Fraser) in The Little Big Things (Photo: Pamela Raith)
Similarly uplifting is Nick Butcher and Tom Ling’s score. Firmly rooted in energetic late-noughties pop, it does admittedly grow a little repetitive, but most numbers soar with an incredible spirit that’s hard not to get swept up in. Alaisdair Harvey’s rendition of ‘Miles and Miles’ is a particularly sweeping standout with a deeply infectious energy. Combined with Mark Smith’s dynamic and zealous choreography, the musical numbers carve out pockets of euphoria in the most unexpected moments throughout.
The Little Big Things is easily one of the most refreshing new musicals to grace the West End in years. Sure, it’s not without its (very minor) flaws, but it’s an exceptional demonstration of what musical theatre can, and should, be. The Little Big Things is spearheading a future for a version of the industry which celebrates joyous and uplifting stories that have been too long neglected. As far as I’m concerned, that’s the most inspiring message of all.
The Little Big Things is playing at the @sohoplace theatre until 25 November. Get your tickets here.
