Film Review: Tomorrow Morning (2022)

Starring Ramin Karimloo and Samantha Barks, this cinematic version of Laurence Mark Wythe’s musical Tomorrow Morning is differently but nicely done

“You have to say what you want to say”

Directed by Nick Winston, Laurence Mark Wythe’s musical Tomorrow Morning has been adapted for the screen with a big-hitting leading cast of Ramin Karimloo and Samantha Barks. They play Bill and Catherine who we first meet as he moves out of their penthouse, but we soon flash back 10 years to see them in the full flush of romance on a date by the Thames. And so we see their love story play out on twin tracks, bookends of the anticipation leading up to their wedding and the anguish that comes in dealing with their divorce.  

It’s an interesting take on a familiar subject, all the more so considering the musical presents us with two different couples and the fact that they’re the same people separated by a decade is a big late reveal. Here, Karimloo and Barks play Bill/Will and Catherine/Cat in both strands, heightening the emotional stakes right from the off as we cut between the heart-swelling and heart-rending. As parenthood and contrasting professional fortunes mark the stark changes in their lives, the format doesn’t quite allow for much depth of character to emerge beyond the relationship archetypes, no matter how gorgeously the pair of them sing.

The flipside of expanding their world though is that it allows for a range of supporting characters to flesh out their lives. Whether George Maguire and Fleur East as respective besties or Omid Djalili and Harriet Thorpe as parents with lots to say, there’s vivid work coming from this ensemble. Winston’s address book also extends to a bring in a huge number of cameos from the likes of the legendary Anita Dobson, Henry Goodman, Strictly’s Karen Hauer, the marvellous Emma Williams and Stephen Ashfield (who both appeared in the original theatrical production) and in a truly luxurious moment, Joan Collins is delicious as Cat’s granny Annie. 

There’s cracking work too from debutant Oliver Clayton as distraught son Zach, caught in the crossfire. The real star though is Wythe’s score, his gift for a confident melody is evident throughout and so many of these songs just soar. Some have been newly composed for the movie and whether driving the plot, mining emotional torment or just chirpily lifting the spirits, they always sound good – the chance to see both Karimloo and Barks like this makes Tomorrow Morning something to see today.

Tomorrow Morning will be in UK Cinemas from 6th September

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