(seen at the afternoon performance on 6th August 2024)
Not everybody is keen on Shakespeare, least of all Nick Bottom, from whose company the Bard was fired for being a s*it actor. Bill the Quill went on to be a megastar, while Nick struggles at, well, the bottom.
Getting back on top (with the dubious aid of a nutty soothsayer) is the theme of this comedy romp through musicals and Blackadderesque distorted history. Denied until now a UK debut and London transfer from Broadway, this concert staging is a first chance to see what all the fuss is about.
It’s good fun. Some describe it as panto, and indeed there are a few set-pieces which fit the mould. Certainly there are elements of “Forbidden Broadway” in the parodies of popular shows (less Sondheim than you would imagine, just one nod to “West Side Story” where he was only lyricist). The aforementioned “Blackadder” springs readily to mind, even more so Ben Elton’s later hit “Upstart Crow” which covers a similar area.
Not as fast as “Crow,” lacking the verbal slickness and quickly established depth of characters, it leans more towards “in” jokes which allow musical theatre fans to flatter themselves spotting every show referenced - an endless stream.
The running gags are key to keeping things moving. As Nick Bottom, Jason Manford excels at holding the craziness together. His aura of knowledgeable respect for the source material sells the daffiness to us, foil Gary Wilmot as Nostradamus matching him and providing enjoyable eccentricity of his own.
Richard Fleeshman is brilliant as an idle idol Shakespeare, more than happy to be centre of attention and even happier discovering a new well of material to steal from young and talented Nigel Bottom (Cassius Hackforth).
Hackforth and girlfriend Portia (Evelyn Hoskins) are a neat pairing, only Portia’s puritan father Brother Jeremiah (Cameron Blakely) can stand between them... and he does... religiously...
More sensibly, Marisha Wallace has a fine turn as Bea, “Right Hand Man” well delivered. Steve Furst shines as Shylock, even if puzzling some in the audience – a character written for New York’s greater awareness of Jewish culture, perhaps.
Jenna Boyd is a fun Lady Croydon controlling less than she things, and Ashley Samuels also makes a fine job opening and closing the show as Troubadour.
As is common with these semi-staged productions now, much attention is paid to keeping it visually satisfying. The result is pretty much a full production, just without much automated scenery.
Tim Jackson and Claira Vaughan direct and choreograph an energetic ensemble, with plenty of hokey Tudor and Broadway dance. Rebecca Brower comes up with some wonderful parody show outfits and neat desks either side of the stage (plus heraldic US flags to end with).
The difficulties of lighting and making audible just three performances on this large stage are well handled by Jamie Platt, Tom Marshall and Sebastian Frost. A warm glow to perform in, and not a missed sound cue. Technical achievements worth noting.
Great cast, well staged. These concert stagings provide a wonderful opportunity to explore shows which scream out for big productions but are probably uneconomic to fully stage in the West End, or even in fringe venues where large casts are budget-busting.
Truthfully, this one is a bit of a one-visit show. Like "The Producers," it's wildly funny on first viewing, but once you have heard the gags and seen the mis-directions, you probably won't need to see it again.
Still, a very welcome opportunity to catch up with a sound Broadway import, feel good about one's personal musical and Shakespearean knowledge, share many hearty laughs with like-minded folk – and wonder if we will still be laughing at the same things around 400 years from now.
4 stars.