White Bear Theatre, Kennington – until 11 February 2023
Reviewed by Phil Brown
4.5****
The humorously suggestive “I found my Horn” is based on the true story of Jasper Rees who wrote the autobiographical book used as the basis for this brilliantly funny 90 minute show . It has little to do with libido quite a lot to do with the French horn but, ultimately is about much more than just music. It’s an inspirational story that in current parlance, charts Rees’ journey from failing at everything to regaining his mojo.
They say that the appeal of science books drops in direct proportion to the number of equations included. Be reassured, you really don’t need to know much about music to fully appreciate and enjoy this show. But if you do, you should be delighted by the wealth of “technical” terms and references as well as names likely known only to musicians and horn experts at that. It is quite refreshing that they have not been edited out in the interest of “greater accessibility”. In fact, they add immeasurably to the richness and authenticity of the play, and the prominence they assume in a musician’s life is a source of amusement in its own right. The well chosen, and appropriately classical sound track is equally welcome
Jonathan Guy Lewis, who co-wrote the stage play, becomes Rees in this wonderfully realised one man show. He is so good, he appears to be recalling first hand (or should that be “lived”) experience rather than acting a part. It’s a bravura performance of restless energy, astonishing versatility and the deftest of transitions between the 8 or 9 different characters he assumes during the course of the show (including his French horn and stereotypical teenage son Daniel with whom he has a difficult relationship). The dialogue between these very distinctive parts flows so naturally, it’s easy to forget there is only one actor on stage . The portrayal of these different voices is superb. And there can’t be many actors around who can play the French horn.. Truly, a tour de force.
The play starts with Rees (Lewis), in his mid 50s, newly divorced, clearing his long forgotten possessions from the attic of the marital home, only to discover his old (Czechoslovakian made) French horn, last played 39 years previously. This immediately provides something faintly familiar for Rees to focus on during his post divorce PTSD moment. In one of a few surreal passages, he starts talking to the French horn, which talks back…
Rees formulates a crazily ambitious plan to play Mozart’s daunting Horn Concerto No3 solo at the annual British Horn Society (BHS) concert in a year’s time. Not, I suspect, a particularly uncommon sort of fantasy amongst folk of a certain age who stopped playing instruments during their teens when other distractions presented themselves.
He recruits a mentor – Dave Lee (Jonathan Guy Lewis!), an unlikely, no nonsense horn player from the People’s Republic of Yorkshire where brass bands are legendary. Pedants might nitpick about Lewis’ Yorkshire accent, but his characterisation is spot on. Lee introduces Rees to Philip Farkas who “wrote the bible” on the art of French horn playing. “Do 2 hours a day with Farkas before allowing yourself 10 minutes of fun – with Mozart”. Lee then sets up Rees with an audition for the BHS annual concert. He’s full of home-spun philosophy and is also responsible for the best joke in the show with his Herbert von Karajan anecdote. I won’t spoil it.
To bridge the gap between aspiration and achievement, Rees goes on to Horn Camp in New Hampshire (where else?) which opens up even more comic opportunities. There he meets Kendall Betts (Jonathan Guy Lewis!) the director, and Hermann (the German horn player) Baumann (Jonathan Guy Lewis!), a legend who gives him one on one tuition. His passion for the instrument suddenly becomes turbocharged.
Back in the UK of England,, as Kendall Betts calls it, Rees learns his audition has failed to secure the amateur spot in the BHS annual concert. However, before he can dispose of the horn in defeat, he is called on to fill in for the original player who is indisposed. A pep talk from Dave Lee summons the spirit of the greatest horn player who ever lived (Dennis Brain) and convinces Rees not to bottle it now. The remarkable final scene sees Rees visibly unravel as he struggles to play his solo, having dedicated it to his son Daniel. I’m guessing it tales a pretty good horn player to play the initial movements so badly. Sweaty and dishevelled, he eventually channels Baumann to gain control over nerves and instrument to finish with a flourish. Mission accomplished.
Congratulations to Jonathan Guy Lewis and director Harry Burton for staging such a life affirming surge of energy where an original, witty, and resonant story marries perfectly to jaw dropping performance. At the end, when son Daniel said – “Dad you’re a nutter”, I’m sure what he really meant was “wow, awesome”.