It is always interesting when a writer of proven gifts goes in for a new kind of work and this is true of Alan Ayckbourn, whose musical in collaboration with the composer Paul  Todd, Making Tracks, has come to Greenwich theatre.  Making Tracks may not have much of the sharp, supple, or dashing humour of the Ayckbourn plays, but it has freshness in approach and feeling, as if Ayckbourn is really enjoying his venture into new methods.

Making Tracks is exactly about to that, tracks for pop records, being done up hill and down dale in an underground studio by Stan, an impresario practically bankrupt but ever eager.  He has discovered a wonderful singer, Sandy Beige, when having a drink too many in a club.  At the time, Sandy seemed a positive winner, if handled properly.  In the light of day great hope turns into a grave problem. The development of the story, Sandy at the mike, all the studio types running hither and thither, Stan’s backer in the offing with his gangster-aid servants, is on the slight side but almost always amusing.  The songs have a tendency to halt the action, rather than further it, but they make a lively, even jolly sound, Todd’s music blending very well with the Ayckbourn’s lyrics.

Making Tracks may deceive with its lightness, but there is more to it than seems immediately apparent.  This is a realisation of a certain kind of world.  Ayckbourn and Todd take a peek into a corner of it.  It is worth going along with them.  Directed by Ayckbourn, Making Tracks is played with smooth assurance as well as suitable vitality by the cast.