I can’t speak for the entire community, but one of my biggest frustrations as a disabled theatregoer stems from the fact that I’m not able to support new work as much as I’d like to: being limited to matinees only except on very rare occasions due to care logistics, short runs, venue access (or lack thereof), limited wheelchair park spaces… all of these rear their heads regularly, so too does the travel expense if that’s a factor! As such, missing out on seeing new work, especially new musicals, becomes sadly all too familiar and routine. Such was the case with The Curious Case of Benjamin Button, which I didn’t see in either its original run in 2019 or in 2023, when I understand it was reworked and refreshed, both at Southwark Playhouse.

Despite not having seen the show in either of those early iterations, The Curious Case of Benjamin Button was always on my radar, thanks to the sheer love, passion, and joyful buzz I would see about it on my social media. It made me so happy to see a new work find the people who love and champion it, and it only strengthened my hope that it’d return and I could see what all the fuss was about for myself!

I know from experience that certain shows will return to my world with patience and a little bit of luck, and I often find that, even though I’m ever “late to the party”, they come to mean a lot to me…

Based on the 1922 short story of the same name by F. Scott Fitzgerald, we follow the curious life of Benjamin Button, who, whilst ageing in reverse, is determined to live life to the fullest. Now, my familiarity with the story first came with the 2008 film with Brad Pitt, Cate Blanchett, and Tilda Swinton, and I read the original story afterwards. When I heard the musical adaptation relocated the action from America to Cornwall, knowing my love for folk music and sea shanties, I immediately had a feeling that I was going to fall hard and fast for this piece, and ‘nary a word need be spoken, let alone sung! Happily, that feeling has been well and truly cemented. I don’t say this often enough, and I think it’s taken this show in particular to remind me, but musical theatre so often lives and dies by the strength of it’s ensemble, and the team they’ve assembled here is one of the strongest, most passionate and joy inducing I’ve ever had the privilege of watching; I believe some of them have been with the show since the beginning and everyone’s love and care for the storytelling, their musicianship (13 actors playing 30 instruments), their energy and enthusiasm never fails to astonish. Some of them even appear in multiple guises, bringing such life and colour to the world they’ve made: I’m exceptionally fond of Jonathan Charles’ Captain Carrick, Anna Fordham as Mrs Bennett, Damien James as Mrs Gladstone’s sister, and Phillippa Hogg’s Millie Dyer. Though the story centres around Benjamin, I love that Jethro Compton’s book takes time to shape these characters, warmth and wit abound, and I have such fun spending time with all of them.

I have Once and Ragtime to thank for first introducing me to the “actor muso” style of production, and I’m so glad The Curious Case of Benjamin Button has brought the form back into my life, I think it lends itself so beautifully to the setting and story they’re telling; there’s something about being in the audience and being able to fully appreciate the fact you can see all thirty of the instruments, watch everyone’s skill in playing really intently, and properly hear how all the sounds blend and come together that’s so impressive. They’re not just playing the music and singing the songs, though; they’re narrating the story too. I love the intimacy and sense of community that is created between the company and us as the audience, especially when you realise that at its core, the story as told here is about a search for belonging, what makes “home” and how we make the time we have count. There’s something so human and universal about that, it just so happens to frame that story through this fantastical element of Benjamin ageing in reverse!

I understand that Compton wanted the piece to be a love letter to his Cornish roots, and for me nowhere is that more potent than in the music; I adore the score of this show so much: the chills I get, the harmonies, the changes in energy and pace, everything about the music in this show feeds and warms my soul, and I especially love that each time I go to the show I’m still discovering new nuances and things to love. Darren Clark’s lyrics have undeniable charm and fun, and I love how the two complement each other’s work so well. There’s a balance, both lyrically and in terms of direction, that’s struck gloriously: there are all shades of life:love, loss, hardship, but they’re so careful to ensure there’s space for humour and fun, too, and that takes great skill and a deft touch. From my memory of reading the original story, there are elements of it I wasn’t taken with, especially some of Benjamin’s motivations, and the way he’s treated near the end of the story. The musical makes changes to these, and in my opinion, these are for the better: I found I connected with the characters more strongly here because of the depth and nuance in their story arcs; it deals with these weighty universal themes but never loses its warmth and heart.

The set design (also by Compton) is brilliantly evocative of our Cornish fishing village: wood, ropes and nets across various levels, aided by Zoe Spurr’s lighting and Luke Swaffield’s sound design, and having been unable to visit this theatre as a wheelchair user until it was refurbished very recently, I was especially delighted to see how Chi – San Howard’s choreography totally lifts and brings that small stage space to life: it radiates with energy and feels so slick and almost spontaneous, complementing the idea that our ensemble are sharing the story between themselves, and us. I love that the wheelchair space is so close here; it’s made me appreciate the level of detail in this piece so much, and, similarly to the music, I’m enjoying picking up on different things each time I go.

I’ve been familiar with John Dagleish for some time, but that’s been for his screen work, and I’ve been waiting for my opportunity to see him in a musical, and he’s made my wait more than worthwhile. I was curious to see how the change in medium would show Benjamin’s aging, and they’ve made the choice to dispense with the traditional makeup and prosthetics, and instead rely on the costuming (Anna Kelsey) and the physicality of the actor, and John rises to the challenge admirably; it’s remarkable how he is able to imply so much with just a slight change in posture, body language or rhythm of how he speaks. He’s also irresistibly charming and charismatic with a vocal that hits me right in my soul, (especially in the 2nd act with the opener The Tide Is Comin’ In and the reprise of Home) and I have taken such joy in watching him play all the facets that make up Benjamin’s journey, especially those more vulnerable, emotional beats.

Clare Foster stars opposite him as his love interest, Elowyn. In my humble opinion, she is utterly radiant in the role. It’s easily my favourite theatre I’ve seen her do, and I’m so glad this piece has brought her back into my theatregoing after eight too long years.

Elowyn is funny and feisty, but the character also has some of the most touching and profound moments in the show, and Clare navigates that journey with such ease and charm. She & John  share some of the most palpable and endearing chemistry I’ve seen onstage recently: they had me laughing and shedding tears throughout (sometimes in the space of mere moments in the same scene!) and are one of the many reasons I hope audiences continue to embrace the show as they have been.

Elsewhere, Jack Quarton and Benedict Salter shine as Jack Trenlee and Benjamin’s father, Roger, respectively. Both of them have really striking character arcs to play thanks to their relationship with Benjamin as the story progresses.

The Curious Case of Benjamin Button has joined Hadestown as a show that, though it’s only been a part of my life a relatively short time compared to a lot of my peers, it’s come to mean a great deal to me. I find the love that everyone involved has for it so palpable and such a delight, and the community around the piece has been my pleasure to be part of. A fact and thought: both of these don’t come around with such intensity very often, and I’ll hold onto the joy the show has given me for as long as I’m able.

The Curious Case of Benjamin Button is currently booking until August 30th, 2025

Production Photography: Marc Brenner