Review: The Ballad of Johnny and June at New Theatre Cardiff

Rhys John Edwards

Another day, another jukebox musical. But when that jukebox is filled with the songs of Johnny Cash, I’m inclined to be a little more forgiving.

‘The Ballad of Johnny and June’ also has the advantage of being a biography, so at least the songs can appear as they did in reality, through recreated public performances or in-studio recordings.

Thankfully, they don’t have to be shoehorned into a brand-new narrative in which ‘Walk the Line’ accompanies a character learning to balance on a tightrope, or ‘Ring of Fire’ is cued the morning after they’ve indulged in a particularly spicy madras.

Plus, Johnny’s life has already proved to be fertile enough ground for drama in the excellent James Mangold film Walk the Line with Joaquin Phoenix and Reese Witherspoon. So, what’s the worst that could happen?

Impeccable vocals

The musical charts ‘the greatest love story in country music’, the relationship between Johnny Cash and June Carter. It traces their journey through professional triumphs and personal struggles, narrated (often infuriatingly) by their son, John Carter Cash. But more on that later.

Christopher Ryan Grant seems to do the impossible and deliver an extremely convincing Johnny Cash. It’s not just his impeccable vocals, which in themselves seem improbable – who could possibly authentically recreate those dulcet tones? – but his physicality that truly takes you by surprise. His presence is more than impersonation but still remains unmistakably Cash.

He captures the posture, the gestures and that uncanny precision of expression, resulting in a remarkable performance.

Christina Bianco is a magnetic, pocket rocket of charisma. She fills the stage with warmth and charm, matched by powerful vocals.

Again, her physicality replicates that of the real-life June, but it doesn’t feel like a self-conscious impression. Her instant spark with Grant also does some heavy lifting when it comes to convincing us she would fall for such an unreliable and often volatile star.

Exposition-laden dialogue

The cast is rounded out by a terrific ensemble and Ryan O’Donnell as narrator John Carter Cash – a character, no doubt included at the behest of the real-life Carter Cash himself, who was apparently heavily involved with the production.

There’s no other explanation, as there is essentially no reason for him to be here at all other than to service the ego of a needy nepobaby.

O’Donnell throws himself into the role though, demonstrating both his impressive range as a singer and musician, as well as his astute dramatic chops. He does exactly what the role requires and engages the audience where possible but unfortunately, the material he has been given does let him down.

And it’s here where the production really falters. By framing the story through John Carter Cash, who isn’t even born until midway through Act Two, the audience must endure constant interjections from a narrator whose omniscience borders on smugness.

The character is written like an overly enthusiastic tour guide, repeatedly stepping in to overexplain scenes that were already doing a perfectly adequate job of overexplaining themselves in the first place via exposition-laden dialogue.

Significant moments are glossed over

The script seems almost entirely devoid of conflict. It adopts a curious approach, appearing to assume the audience already knows enough about the subject matter to fill in the gaps and yet simultaneously lengthens out aspects of the narrative which are self-evident.

As a result, significant moments are glossed over, while dull, repetitive exchanges are stretched to their absolute limit.

Johnny’s controversial decision to perform in prisons, for instance, is more or less skipped. We see the performance itself, an armed guard watching at his side, but there is no reference to how the idea came about, nor any pushback from record executives.

Also absent is his turbulent relationship with his father. Instead, we are given a fleeting scene before Cash’s wedding in which his father suddenly declares how proud he is of him, as if referencing a larger emotional arc that, crucially, has not been shown.

Even the darker elements of Cash’s life, particularly his struggles with addiction, are treated with frustrating vagueness. The show repeatedly references his drug problem but rarely explores it with any depth.

When the music takes centre stage, the show truly shines

And all this lets down the remarkable music on show. Under the supervision, arrangement and orchestration of Ron Melrose, the sound of the show is nothing short of sublime. Every musician performs with the kind of precision and pride that suggests their instruments are extensions of themselves.

The arrangements honour the original recordings while still feeling alive in the theatre. When the music takes centre stage, the show truly shines. It’s only when we return behind the scenes that it loses traction.

Ultimately, performances from Christopher Ryan Grant, Christina Bianco and Ryan O’Donnell are electrifying and the ensemble of singers and musicians under Ron Melrose are also exceptional. But this script simply can’t compete with the calibre of these superb performers.

The Ballad of Johnny and June plays at the New Theatre Cardiff till Saturday 14 March before continuing its wider UK TOUR. For more information visit: https://johnnyandjunemusical.com/