Full disclosure: I’ve never really listened to Nirvana, nor do I know much about Kurt Cobain, so perhaps going to see Earth to Kurt was a gamble, but it paid off. Listed as a grunge opera, produced by Volume Club, written by George Clark and Ricky Hunt, Earth to Kurt is an audio-visual triumph from start to end.
I enter the space, greeted by a single bright red guitar on stage and makes the bold decision to sit in the front row, but this turned out to be the best place I could possibly sit. As the piece starts, a deep orchestral overture plays, vibrating through the whole space, and we find ourselves enveloped by a cloud of haze. I never thought I would praise the use of haze in a production, but the team behind the show knew how to use it to phenomenal effect, as billowing clouds roll forward from behind the drum kit, instantly immersing us in the world of the show.
The show is framed around the ancient Greek Fates, as they form a band around a manifestation of Kurt Cobain. They start by taking out a red cord and plugging it into Kurt’s guitar – the thread of his life. Each of them focus on him so intensely and passionately, it is glorious to watch as the group play their way through a series of gritty yet often touching songs. Throughout much of the show, I have to restrain myself from jumping up and dancing with the band; the songs, composed by Clark, have such a unique sound which expertly blend genres of both 90s rock and classic rock ‘n’ roll.
Clark himself stars as Kurt, playing him with an endearing naivete throughout. He’s buzzing with energy and at times rage, and within minutes I start to really feel a connection to Kurt, despite knowing next to nothing before the show. We follow Kurt from childhood, idolising Elvis and Action Man, to the end of his life at the age of 27, struggling throughout with his mental health and relationships. What’s most successful about the structure of this, however, is that it is not a straight biopic – the show is happy to exist outside of a linear, exposition-laden narrative, and instead tackles Kurt’s life thematically and emotionally.
Jolene Venzi delivers an outstanding performance as the lead singer among the Fates, playing female figures in Kurt’s life. She seems to occupy both Kurt’s mother and Courtney Love at various times, and this ambiguity allows the show to really place the emphasis on the emotional connections, as Venzi desperately tries to reach out to and look after Kurt. Venzi’s vocals are soaring, with a seriously impressive range, and almost bringing me to tears at several points – the heartbreak ripples throughout the audience and you can’t help but feel it in your bones.
About 15 minutes into the show, just as I thought I was getting settled into what this experience was going to be, I am taken aback – Elvis is in the building. Kyran Thrax struts onto stage as a bedazzled drag interpretation of the King of Rock’n’Roll himself, with a tower of hair and stunning makeup. This surprise appearance nearly gave me palpitations, as Kyran commands the stage and I am enraptured. Here is where the show really cements its position as a masterpiece – Elvis gives the performance of his life, with his beautifully rich, deep voice, and I begin to get just why he made all the girls swoon. Kurt is similarly ecstatic at this appearance, and we see as Elvis begins to open up to Kurt, inviting him to play with him.
And here we hit the play’s emotional heart – Elvis passing on his wisdom to Kurt, talking to him about the nature of fame, the need to look after your family through it all, and makes Kurt promise that he won’t throw it all away by ending his life. We, of course, know this is futile, which makes it all the more heartbreaking. The chemistry between the two is electric, as we see a vulnerability and heart which is almost indistinguishable from reality.
Throughout these performances by Kurt, Elvis and the Fates, the lighting is perfectly executed, always hitting exactly the right tone, often making us feel like we’re at a full concert, whilst also able to bring us in for the more intimate moments. Each of the artists is a master of their craft, pulling off stunning compositions and often switching between instruments effortlessly.
Elvis leaves, taking two of the fates with him, confident he has saved Kurt. Venzi’s fate, however, cannot bring herself to leave Kurt. They sing one last duet. The ending we knew must come. Instead of any literal depiction of the end of Kurt’s life, the Fate holds up his guitar and he pulls out the cord. A beautiful end to a stunning show.
Earth to Kurt is, simply put, a masterpiece. Each aspect of the piece is fine-tuned, perfectly polished, and it’s a truly magical experience to watch so many talented artists, experts at their crafts, put on a show which is out of this world.
VAULT Festival 2023 runs Tuesday 24th January to Sunday 19th March, full listings and ticket information can be found here.
This review was written by a participant of the VAULT Festival New Critics Programme in partnership with Theatre Weekly. For more information about the VAULT Festival New Critics Programme, and all of our 2023 participants, please visit: https://vaultfestival.com/new-critics-programme/
