The Forgotten Songbook review

Once a well-known figure in the Broadway scene of the 1930s and '40s, Wilbur Weismann seemingly vanished into oblivion, with little information on what became of him. But for writer/composer Emerson Hurley, one listen was all it took to become utterly hooked and intrigued. That spark led Hurley down a rabbit hole, determined to bring to light who he really was and give his work the recognition it deserves. The Forgotten Songbook revives his timeless tunes - including some recently unearthed compositions - and weaves them together with anecdotes from his life. What emerges is not just a tribute, but a meditation on artistic imprint and the search for validity.

Karla Hillam and Jonathan Guthrie-Jones are our performers for the evening: cheesy, charming and completely committed as they bring Weismann’s story to life. Their brilliance is undeniable, with strong vocal skills. Their voices blend beautifully in duets, while each also delivers impressive individual moments that showcases their range and presence.

Mikey Halcrow’s “less is more” approach to direction works a treat here, letting the performances and music take centre stage, and his understated choreography adds the right touch of sparkle and showmanship. Props and set pieces are used sparingly but to excellent effect, with Yan Lin Tay’s beautiful illustrations of Weismann’s musicals providing an extra layer of visual appeal. Hillam looks absolutely radiant in a series of stunning outfits, including a dazzling green gown, while Guthrie-Jones is effortlessly dashing in a rotation of sharp suit jackets that ground this production in the period it is presenting.

But here's the thing, Weismann never actually existed, and in this regard The Forgotten Songbook is the cabaret equivalent of The Blair Witch Project, and that’s a comparison I never thought I’d be making. Like that horror film, this show merges fact and fiction so convincingly, it feels real. The songs, stories, and quiet heartbreaks feel rooted in truth, crafted into a wholly believable narrative through Hurley and Dylan McBurney’s exceptional writing and the captivating performances. The show successfully unfolds as an honest homage to a forgotten icon, blending nostalgic flair, poignant storytelling, and vintage-style tunes that fully immerse the audience in the rediscovery of a lost musical legend.

The camaraderie between the performers and Hurley - who accompanies on piano - is warm and genuine, hinting at a shared history as they collectively explore this conceived world. The only misstep is a moment of friction between the characters of Hillam and Guthrie-Jones, which arises somewhat abruptly in the second act. A hint of tension earlier on might have helped smooth the transition into the dramatic confrontation later, making it feel more earned and less jarring.

Hurley’s compositions and musical direction are the soul of the show, expertly blending classic charm with fresh energy. His piano playing guides us through the emotional highs and lows of the composer’s story and his productions. The original numbers are perfectly suited to the cabaret style, showcasing a deep understanding of the era while adding his own distinctive voice. At 23 years old, Hurley is a talent to keep an eye on.

The Forgotten Songbook is a highly entertaining cabaret-play that dives into the fears every artist knows too well: obscurity, authenticity, and the haunting question of whether their work will even be remembered. The show blurs the lines between truth and fantasy so effectively that audiences are left wondering what’s real and what’s imagined. This is a very clever exploration on legacy, inviting us to reflect on the elusive nature of artistic immortality, and to celebrate the talents of a man who never existed.

The Forgotten Songbook was performed at Chapel off Chapel between 25 - 27 July.