(seen at the afternoon performance on 2nd April 2025)
Bill Kenwright’s touring production set a record for how many years it was on the road in the UK.
This Michael Harrison version is nothing like that. What we are getting here is the full 2019 London Palladium version, as dazzlingly bright as the coat itself, and tailored to a snug fit by the entire cast.
The only differences are the size of the stage, requiring fewer identical pieces of scenery to fill the space, and the quips and inserts the lead cast members choose to bring in.
It remains, as the monkey wrote in 2019, “Fresh, funny and fabulous, this is a 21st Century re-interpretation with emphasis firmly on its origins as a delight for the brightest children - including Andrew and Timothy.”
Still in the hands of original director Laurence Connor and resident director Billy Mitchell, the whole show is from the kids' point of view.
Biggest kid on the stage has to be narrator Christina Bianco. The unpredictable nut is seldom in control of the brilliant kids running rings around her (and helping her phone technique). She is, however, in control of her vocal impressions – you will spot a little Judy, Barbra and Marlene, and Jacob is the bluff full English.
Most of all her unique talent is in being the first narrator who can really dance. A thrilling new dimension to the role. Add experienced comic timing and she is just terrific.
Adam Filipe takes the title role and accompanying coat. His acting is his strength in the later scenes, creating real tension as the search for the cup is made. His "Any Dream Will Do" is sweet, particularly in the final duet.
In Pharaoh, Joe McElderry finds an entertainer. Bringing the audience in on “Song of the King” is fun, his disgust at our lack of enthusiasm hilarious. He takes great joy in his Elvis moment, enjoys the attention of his attractive retinue, and could probably have given encores all night with his energy.
John Rigby and his 9-piece pit orchestra blow us away with the fresh John Cameron orchestration, Gareth Owen ensures we hear it all clearly.
Both Ben Cracknell’s lighting and Morgan Large's clever sets and costumes make the roadshow soar. From the big stuff of Vegas and jail, to the hysterical camels and the witty little notes (minus one sign, and later the burger recipe and Phantom mask hieroglyphics), the Palladium versions are intact, as are Joann M. Hunter’s inventive dance moves to go with them.
The dance breaks feel tighter (the monkey was amused by the cheerleader costumes), the whole thing like it opened just yesterday.
This tour remains a glorious kaleidoscope of talents serving up a beloved show in a mega-mixed delight to audiences old and new, old and young and all manner between.
May the monkey return... and if it comes your way, go, go, go, go, go.
5 stars, standing ovation.
Photo credit: Tristram Kenton. Used by kind permission of the New Wimbledon Theatre.