It seems an unlikely proposal, if not an indecent one, to turn the story best known as a Demi Moore-Robert Redford movie into a musical. But after Pretty Woman, Heathers and Back to the Future, why not another classic VHS revamp for the stage? In fact, writer Michael Conley hasn’t seen the film. His blueprint is Jack Engelhard’s 1988 novel, a less glossy, more complex tale. Here, the central couple, Johnny (Norman Bowman) and Rebecca (Lizzy Connolly), are both on their second marriages. She gave up a comfortable life; he has a daughter who needs cash to go to college. Now they’re living in a crumbling room, working multiple jobs in Atlantic City casinos, when a high-rolling stranger offers them a million dollars to spend the night with Rebecca. Charlotte Westenra’s production of this chamber piece communicates their sense of desperation. Struggling songwriter Johnny is a man who’s been through the mill, voice straining into the mic on a treadmill of thankless gigs. Ako Mitchell’s smug billionaire Larry plays games with them from the start and nobody comes out of it well. Johnny’s response to the offer: “One million dollars? It’s kinda classy!” The subject matter is fascinating. Questions of power and consent emerge. Can a relationship survive infidelity? What would you do for a life-changing sum of money? Johnny is visibly vexed, but the grappling remains on the surface, the songs often literal inner monologues – shall I do this or shall I do that? And Dylan Schlosberg’s music rarely makes us feel something beyond the words. Tonally it jars. We’re in a 1980s casino but the music is poppy guitar strumming. Dark themes alternate with comedy (including an incongruous punchline about Hi-de-Hi!). Rebecca’s retro wardrobe reads as 2021 hipster, while Johnny wears a plaid shirt and work boots on the casino stage – no wonder he’s not booking better gigs. Their soulmate connection is never entirely convincing. And you realise what you’re missing when jazz vocalist Jacqui Dankworth performs as lounge singer Annie. The range and tone of her voice, her ability to connect with a song and an audience: the class in this act belongs entirely to her.