Mod musical All Or Nothing rocked up at the Alhambra for LEO OWEN to decide if it is indeed “The coolest musical ever”

An adult Steve Marriott (Chris Simmons) thinks back to 1968 and the moment it was “all over” for the band The Small Faces. Chugging on spirits, the ghost of Marriott bitterly narrates their story, punctuated by flashbacks of their making/downfall and snippets of significant historical events. Breaking the fourth wall he admits he’s “no longer with us” before reeling us in with leading questions: “Why did I do it then? End it?”

From his school expulsion at 15, we see Steve dodge factory work, instead successfully auditioning for a part in Oliver. Small shows lead to the offer of work alongside Laurence Olivier but this is snubbed instead for a stab at a musical career that rapidly takes off: debut single “What’cha Gonna Do About It” got them early recognition and they were soon gigging up North; recording in the same studio as Sonny & Cher; at number one with single “All Or Nothing”; banned from Top of The Pops and releasing a concept album, alongside The Who.

Rebecca Brower’s set predictably uses the drum kit and microphone as a focal point throughout the show with a simple graffitied corrugated iron backdrop. Charlotte Espiner’s costumes perfectly conjure the age as the band move from the sharp suits of their earlier days to their later flared look. Carol Harrison’s script paints the band full of cockney bravado, making for marmite characters that are either unsympathetic or cheeky lovable rogues, depending on how big a fan of their music you are.

Harrison’s fellow cast (she directs and acts in it too, playing Steve’s mother) are faultless but the story and script lets them down, possibly because as a fan she sticks too closely to the facts. There is no real tension or drive in the story as the band quickly find fame and their only real drama comes from managerial disputes and musical disagreements, a story arc already explored in almost every other biographical band musical that has gone before. Harrison’s direction predictably ends with a medley of classics to pick up the mood and pace after a tragic end but there are interesting moments too, including the addition of some colourful minor characters and a slightly odd imaginary conversation between a dead adult Steve and his mother.

Nostalgic viewing for many, All Or Nothing is unlikely to wow the band’s less die-hard fans but loyal followers clearly relished re-living the past, giving the show a standing ovation. Even before the poignant final acoustic rendition of the titular track, it was obvious the show has a clear fan base from audience sing-alongs pre-empting popular tracks. This really is an “All Or Nothing” experience, depending on who you are and how invested you are in the band.

All Or Nothing shows in The Alhambra Theatre May 18-20 before continuing its UK tour: http://www.allornothingthemusical.com/tickets