THE TRANSATLANTIC MAGAZINE
THE TRANSATLANTIC MAGAZINE
Book, music and lyrics by Mark Sonnenblick, Conceived by Sam Bolen, Max Friedman, and Mark Sonnenblick
Menier Chocolate Factory, 4 O'Meara Street, London SE1 1TE until September 12, 2026
www.menierchocolatefactory.com/tickets/midnight-at-the-never-get
This production is unconventional and truly distinctive. At its core, it is a poignant drama exploring the hardships of navigating being a gay artist in pre-Stonewall New York, uniquely framed entirely within a cabaret performance. The show opens with a singer illuminated by a single spotlight, who explains that while an upscale, star-studded memorial is taking place uptown for a deceased (fictional) composer, he is here at the gritty downtown 'Never Get' club to give you the 'real story'.
The narrative centers on the romance between torch singer Trevor (portrayed by Ben Platt) and pianist-composer Arthur (Gregor Milne). Their relationship unfolds through a series of completely original songs by Mark Sonnenblick that capture the era's authentic musical style perfectly, steering entirely clear of mere pastiche.
What truly sets this production apart is the immersive environment crafted by designer Scott Pask, who has transformed the entire venue into a detailed replica of a cozy, circa-1960 Greenwich Village cabaret space (evoking the aesthetic of The Marvelous Mrs Maisel). Patrons are seated at small cabaret tables illuminated by subtle lamps, with elevated banquettes and surrounding mirrors framing the room. The onstage trio of piano, bass, and drums is cleverly augmented by offstage brass. Andrew Resnick's orchestrations strike an ideal balance between intimate warmth and the polished, professional aesthetic that Arthur aspires to achieve. Director David Cromer maintains a brisk momentum for the 1 hour and 40 minutes straight through running time, dynamically expanding the staging directly into the audience to overcome the limitations of a single set.
The overriding draw, of course, is the chance to witness legitimate Broadway star and Tony/Grammy winner Ben Platt in such close proximity. Exuding a youthful charm in a sleek copper tuxedo, Platt delivers a deeply moving performance as the enamored crooner. He finds an excellent counterpart in Milne, a talented newcomer who demonstrates impressive prowess at the piano.
In a quiet act of resistance, Trevor and Arthur perform their romantic numbers without altering the pronouns. Given that gay bars at the time faced frequent police raids during periodic municipal crackdowns on morality, this choice carried immense weight. The piece movingly highlights the tragic reality for youth who escaped hostile family environments, only to encounter further hostility in the very places they sought refuge.
Eventually, the strain of operating as "the biggest act who didn't exist for people who didn't exist" – as Trevor poignantly puts it – causes deep rifts between the pair. These conflicts culminate around the historic Stonewall Riots, which occurred just after Judy Garland's funeral. The more reserved Arthur criticizes the politically progressive Trevor for bringing 'radical freaks' into their circle, fearing it invites dangerous scrutiny. Arthur prefers to focus purely on musical craftsmanship and mainstream success as a vehicle for societal change rather than overt activism – an ideological divide brilliantly captured with sharp irony in the song 'Why do you have to call it love'. A clever coup de théâtre near the end, which I won't spoil, adds to the emotional impact of the piece.
Composer Mark Sonnenblick (an Oscar winner for KPop Demon Hunters and Elton John's collaborator on The Devil Wears Prada) faced the formidable task of ensuring a vintage-style score feels fresh rather than derivative. He succeeds remarkably, crafting a musical progression that neatly reflects Arthur's growing sophistication as an artist over time.
With a creative team boasting numerous Tonys, a future Broadway transfer seems highly likely. In the meantime, this production offers a rare, magnificent opportunity to experience Platt's artistry up close in a genuinely moving and evocative piece of theater.
