The Last Ship | Theatre Royal Drury Lane

It’s Thatcher’s era England and a small community is fighting for its life. Facing the closure of their shipyard, the workers become determined to show their mettle and launch the last commissioned ship. Amidst the protests, their faithful leader has a big decision to make and a long lost sailor returns home without a welcome.

The Last Ship has been around since 2014. It made its debut at Chicago’s Bank of America Theatre before transferring to the Neil Simon Theatre later that year. However, the run wasn’t overly long and it closed in late January 2015. After a few other iterations, it has re-emerged as an international tour this year and has been to Amsterdam, Paris, Australia, America and the Netherlands before arriving in London at the Theatre Royal Drury Lane. 

First impressions were that this musical was going to be epic. Jenny Melville's set is absolutely incredible, especially with how Adam Bassett's lighting effects worked with the mechanical set pieces to create a harsh industrial atmosphere. Not to mention Tom Gibbons' sounds of metalworking in the background, helping to establish the centre point of the musical - the heart of the workers. 

However, unless you’ve heard the Night Watch album by Sting, the songs aren’t particularly memorable. Packed with metaphors that don’t match the established setting nor align with the character’s inner worlds. Additionally, they become quite formulaic, which generates some dramatic stagnancy. 

Also a running problem is the inclusion of a large ensemble in a musical which is mostly made up of solo numbers. Yes, a cast of this size helps to maintain a grip on the setting throughout, however, there seems to be limited reasons for them to be there, aside from being able to do group harmonies and dance numbers. 

This being said, there is one number worthy of credit: Dead Man’s Boots. The song of a son reeling over, having the reality of what his father left behind in the wake of his death. It's brutally honest in its lyrics and Declan Bennett’s capable hands, it becomes arguably the most moving and meaningful moment in the show. 

This then begs the question of focus. Was the overarching storyline chosen, the best one to pursue? Arguably, and especially given Dead Man’s Boots, Gideon’s storyline is layered and the most thought-provoking one to follow, yet it has been relegated as a side story. It’s the most fleshed out aspect of the entire musical itself, why isn’t the focus on this? 

Sting's voice, whilst usually gorgeous, isn’t strong enough for the medium of musical theatre, especially considering and lacks the ability to act through song. This is a real shame, but it does show that screen acting doesn’t always translate well to stage. 

Overall, this musical feels underdeveloped. There are aspects that have so much promise, but they are overshadowed by misguided elements which are hollow and underestimate the intellect of the audience. Hopefully, the creative team learn from this iteration and really look at identifying and exploring the true anchor of the musical. 

The Last Ship plays at Theatre Royal Drury Lane until 03rd October - tickets and more information can be found here.

★★★☆☆ (3*)

Gifted tickets in return for an honest review | Photography by Nienke de Groot