It is becoming harder and harder to find new British musicals. There are aspiring theatre-makers and people with ideas but we very rarely see these shows doing well, despite plenty of talent. This alone adds to the excitement of Duncton Wood where, behind the opening façade of the mystical wood, we are faced with the depths of lust, love and rivalry. Based on William Horwood’s The Duncton Chronicles, this new musical delves deep underground into the highly intelligent mole community, where the opposing societies are under the rule of the tyrannical Mandrake. As we progress through the story we see events of love and tragedy leading to revenge, as families are disobeyed, broken and reunited.

Easing us into the production is the unassuming Hulver (Trevor Jones) encompassing an idea of the happiness and bliss of the past, symbolised by the “Stone”. Jones’s staggering voice leads the young moles into the serene past, inspiring Bracken (Josh Little) to gradually take the lead in an attempt for salvation. Meanwhile, we are introduced to Rebecca (Amelia-Rose Morgan) and the troublesome brothers Cairn (Oli Reynolds) and Stonecrop (James Sinclair). As a group of four these young leads release a new, exciting energy into the theatre and together Sinclair and Reynolds especially give some liveliness, comedy and creativity to the show. And that’s even without mentioning the copious amounts of talent that we see in the tender duets, in Sinclair’s revengeful solo and in the blasting, heartfelt final notes of Little’s solos.

Mark Carroll’s music embraces the atmosphere of Duncton Wood and, while I didn’t come away entirely engrossed in the songs, there is a sense of connection to the earthy, brawling location. Unfortunately at times the lyrics are childish and disconnecting; their simplicity and closeness to the dialogue takes away from the charm and sentiment that is lurking just below the surface in these passionate, intricate characters.

The production as a whole lacks a change in pace and, however much I enjoyed the music, there needs to be an extra element as there are times that the tragic events don’t quite settle in before we are rushed onto the next line and scene. Yet the second act changed my opinion wildly. At the interval I was underwhelmed and had no connection or immediate engagement, but as we progressed into the second half there were moments I was entirely engrossed.

The music and lyrics begin to go hand in hand with each other, reaching into the emotion behind each song, giving it a reason to be there. We flicker between love and revenge with use of ensemble moments that we only catch glimpses of in the first act. But, as fast as this beings and builds, it seems to be over. The final stages of vengeance and attack seem too rushed when there is so much potential hidden away.

The most enchanting and mysterious moments of this show come with the ensemble, specifically in the second act. Switching between a duet between Bracken and Rebecca and the harmonies of the ensemble, ‘Hulver’s Dream’ is the point in the show that I was captured in their world. As the ensemble create a barrier round the auditorium, we are opened up to a heart-stirring atmosphere where every note brings about something new. Creating an underground atmosphere, with rows of string and straw that were then lit from below, establishes a dream-like, atmospheric world that just enhances the already enchanting moment. To top it off, Nadia Eide’s and Myles Hart’s dance break adds to it all and, although short and sweet, I wish we had time to see more of them.

I’m still not entirely sold on this show. It needs a bit more clarity in aspects of the plot and some editing throughout, but there is one thing that does not need to change. This cast is overwhelming, putting as much as they can into the production making it into something worth a watch.

A gift of a cast – please can it be turned into a gift of a show too?

Duncton Wood is playing at the Union Theatre until 20 June. For more information and tickets, see the Union Theatre website.