Oct 182018
 

Duncan Harley reviews Evita @ His Majesty’s Theatre, Aberdeen.

Margaret Thatcher once said that “If a woman like Eva Peron with no ideals, can get that far, think how far I can get” and she had a point.
The Iron Lady however took several decades to claw her way to the top; Eva took just the one.

Tim Rice and Andrew Lloyd Webber’s Evita first took to the stage in 1979.

A film version followed in 1996 starring Madonna as Evita and Antonio Banderas as Che. With the stage version now pushing forty, the storyline remains controversial. Portrayed as a working-class girl who whored her way out of the slums and exploited the poor, her legacy remains subject to debate.

Hard to ignore however is her undoubted political prowess. Assuming control of the Argentinian Ministry of Labour in 1946, she generously handed out wage increases and promoted women’s suffrage whilst privately embracing a lifestyle lavishly populated with couture clothing and expensive jewellery.

Greats such as Elaine Page and Madalena Alberta have taken on the mantle of the lead over the years and in popular culture, parody has celebrated the role with the likes of Lisa Simpson’s Evita blasting out Don’t Cry for Me, Kids of Springfield to an international audience in the 2003 episode “The President Wore Pearls”.

Latest incumbent in the leading role of Eva Peron is Lucy O’Byrne and if last nights performance at His Majesty’s Aberdeen is anything to go by, she has thrown her heart into the part.

A Dubliner, blessed with astronomically high notes, she was recently quoted as saying that:

“Whatever people say about Eva Peron – that she was selfish, that she was a gold-digger – I am playing her in her story, and I have to make you like her.”

And, this is exactly what she does. As the backstreet girl hustles her way to the top it’s clear that O’Byrne is more than fit for the part.

The role of the new-world Madonna with the golden touch is not an easy one. Expectations are naturally high and its almost a case of the star is dead, long live the star.

But, apart from a few glitches with the sound envelope O’Byrne’s delivery of those huge songs makes muster.

A splendid counterpoint to the, often malevolent influence of Mike Sterling’s President Peron, Glenn Carter’s Che provides comic relief to what is otherwise a fairly dark tale of political intrigue and extra-judicial murder.

Che is slang in Spanish for friend or pal and dressed to the boots in Guevara style combat gear Glen’s Che represents the voice of the adoring masses and gets beaten-up by Peron’s secret police for his efforts.

All the familiar songs are there including of course Oh What A Circus, On This Night Of A Thousand Stars and of course Don’t Cry For Me Argentina. The Evita/Peron duets Dice Are Rolling and I’d Be Surprisingly Good For You are particularly poignant.

As Broadway Director Harold Prince once said, “Any opera that begins with a funeral and ends with a funeral can’t be that bad” and this touring version of Evita would meet with Prince’s wholehearted approval.

Stars: 4/5
Directed by Bob Tomson and Bill Kenwright, Evita plays at His Majesty’s Theatre Aberdeen until Saturday 20th October 2018

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley, Images © HMT

Oct 052018
 

Duncan Harley Reviews The Band at His Majesty’s Theatre, Aberdeen.

LtoR AJ Bentley, Curtis T Johns, Sario Solomon, Nick Carsberg and Yazdan Qafouri in The Band.

Gary Barlow reckons that Take That was Britain’s very first successful manufactured boy-band and he is probably quite correct. I mean he, of all people, should know having composed pretty much most of their early hits.
When the band went their separate ways in 1996, the angst amongst the fanbase was so great that helplines were set up to help with the grief.

Gary went off on a solo career as did Robbie Williams, the youngest band member, and although the post Take That years have been tumultuous to say the least, the music and the songs from the boy-band years at the top feature in play-lists across the land.

Now, courtesy of Tim Firth, the legacy of Take That forms the backdrop to what in essence is a celebration of the power of an enduring friendship shared by a group of friends from the day.

This is not by any means the story of the boy-band nor is it a simple juke-box musical intent on squeezing dry the hit-playlist of the glory days.

Yes, the boys are there in almost every scene. And yes, the familiar hits – there are around eighteen of them – abound. But, the band in general serenade the action and set the mood rather than inhabit front of stage. All the big numbers are there including Relight My Fire and the classic Get Ready For It.

The fans, all five of them are the stars of the show and even when Debbie – Rachelle Diedericks – is tragically killed following a Manchester gig she continues to inhabit the action right till the very end.

In a nod to the likes of Shirley Valentine, the surviving four eventually re-connect twenty-five years later to heal the trauma of the past and move on confidently into the present. The script is variously hilarious, often poignant and sometimes emotionally raw.

Comedic highlights include a trip to a Prague Police Station following the snapping of a penis from a local sculpture and that completely splendid airport scene. Safe-to-say you’ll never look at a flight safety demo in quite the same way ever again. There’s even a wee bit of wing-walking.

Lighting and scenery excelled and as the musical numbers stomped-on, it was hard to resist a bit of audience participation.
Indeed, by the end of the night, and with the encouragement of the MC, strongly played by Every Dave – Andy Williams, the theatre audience were on their feet participating in the action.

While generally this is a well thought out production it did seem as if Act 2 was slightly undersized.

Following some nicely balanced early action the dialogue sped towards a conclusive wedding scene implying perhaps that the plot had slightly run out of steam. Additionally, the use of blindingly-bright stadium style lighting during the gig scenes probably could be toned down a tad.

But, all in all The Band is a splendid foil to the standard jukebox style offering and delivers a decent storyline alongside the familiar song-list.

Stars: 4/5

Directed by Kim Gavin and Jack Ryder, The Band plays at His Majesty’s Theatre Aberdeen until Saturday 13th October 2018.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley, Images © HMT

Sep 052018
 

Duncan Harley reviews Cilla The Musical at His Majesty’s Theatre, Aberdeen.

Cilla The Musical plays at His Majesty’s Theatre Aberdeen until Saturday 08 September 2018

Cilla the Musical is based on BAFTA-winning writer Jeff Pope’s 2014 ITV series and tells the story of Black’s meteoric rise from ambitious Cavern cloakroom girl to chart-topping mega-star.
Her sometimes turbulent relationships with Bobby Willis and the troubled Brian Epstein feature strongly alongside a no-holds-barred peek into Black’s less-savoury aspects.

At a not-too-long two hours and fifty minutes, including interval, the show celebrates the triumphs and the tribulations of one of Epstein’s many stars and covers the greats from the Cilla back catalogue along with tribute numbers from the bands from the heady days of the Black magic.

Gerry and the Pacemakers, The Mamas & the Papas and of course the Fab Four feature alongside a stream of biopics of the men behind the labels. Burt Bacharach, Ed Sullivan and Andrew Lancel’s splendidly vulnerable Brian Epstein feature alongside Alexander Patmore’s study of the dependably stoic Bobby Willis.

Scottie Road Songbird, Liverpudlian Diva, Mersey Beat Gracie Field, girl next door – call her what you will, she never diluted her accent and, although the early critics were sniffy, Epstein’s eye for a shed-load of talent launched her firmly into the hall of fame despite the crowded teeth.

She loved Rolls Royce’s and celebrated her poverty-stricken childhood in endless promotional interviews.

Kara Lily Hayworth’s Cilla is the undisputed star of the show. Picked from some 2,000 hopefuls she has, in the words of a fellow reviewer ‘Got it nailed!’.

From start to finish, Kara’s distinctive Liverpudlian tones – she is actually from Watford – and Cilla-like mannerisms capture the essence of the Black magic.

As she belts out one hit after the other it becomes obvious that she inhabits the role 100%. You’re My World, Anyone Who Had A Heart, Something Tells Me, Dancing In The Street, Alfie – they’re all there alongside some totally splendid tribute-band numbers from the early Beatles catalogue.

Both the singers and the songs are fab and Cilla The Musical is a good night out with the big plus that, alongside the bucketloads of nostalgia, the production delves deeply into the backstory which transformed a wee lass from a Liverpool backstreet into a national treasure.

Stars: 4/5

Directed by Bill Kenwright and Bob Tomson, Cilla The Musical plays at His Majesty’s Theatre Aberdeen until Saturday 08 September 2018

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley, Images © HMT

Aug 212018
 

Duncan Harley reviews Jersey Boys at His Majesty’s Theatre, Aberdeen.

The Rock and Roll Hall of Fame arrives in Aberdeen this week in the form of the 1960s era, jukebox-laden musical Jersey Boys.

From curtain rise to curtain call this is a highly polished and electrifyingly energetic production features around 30 original Frankie Valli and The Four Seasons numbers.

With a pedigree of 27 Top 40 singles including Big Girls Don’t Cry, Walk Like a Man and Rag Doll, the original Four Seasons’ tough-but-tender doo-wop harmonies continue to wow Rock ‘n’ Roll fans of all ages.

Add to the mix around 100 million record sales, and it’s difficult to see how Director Des McAnuff’s musical portrayal of the group’s often troubled rise and fall could fail to please the theatre audience.

In fact, this is one of those shows that should be seen again and again. I should know – to date I’ve seen this tribute show three times and given a whiff of a chance, I would go back at least one more time.

As always, casting makes or breaks a musical, and the choice of Michael Watson to play lead Frankie Valli is more than satisfying.

Bearing a passing resemblance to the younger Frankie, Michael’s stage presence and ferocious vocal range steal the show. Alongside the fast-paced numbers – Bye Bye Baby/Working My Way Back to You/Rag Doll – Michael’s mellow Can’t Take My Eyes Off You had the audience spellbound.

Peter Nash as the slightly dodgy Tommy De Vito, James Winter as Who Wears Shorts Shorts composer Bob Gaudio and Lewis Griffiths as the Ringo-like Nick Massi completed the band line-up and in numbers such as Sherry and Bye Bye Baby, the quartet’s performance bordered on the magical.

At times it was difficult to separate performance from reality. And don’t you just love those smart-smart red blazers!

The narrative is neatly subdivided Vivaldi-like into Spring, Summer, Fall and Winter, with each band member taking a turn to relate his own particular version of the band’s rise and fall.

As the rags-to-riches-to-rags story plays out and the discord between band members becomes unbearably raw, the musical score stays apace. Spring’s I Can’t Give you Anything But Love leads us on to Summer’s Oh What a Night. Fall’s Big Man in Town gives way to Winter’s Fallen Angel and Who Loves You.

This Vivaldi-esque approach inevitably elasticates the truth. The gang connections, for example, might be ever so slightly romanticised.

Two rather than just the one of Frankie Valli’s daughters actually died, one by apparent suicide and another by drug overdose. And perhaps inevitably, the genuine Tommy DeVito strenuously denied, in the Las Vegas Review, being the band-member who habitually peed in the sink:

“I was probably the cleanest guy there … I don’t even know how they come up with this kinda’ stuff.”

The storyline exists in an explosive bubble of doo-wop and aside from a reference to Bob Gaudio’s pre-Seasons chart-topping Short Shorts and some insight into buying airplay on prime-time radio, we are pretty much left in the dark about the general music scene in the far off 1960s.

Asides such as ‘come back when your black’ and ‘there are only two kinds of girl’ firmly set the general tone of the times. Suspend moral indignation mode prior to taking seat, might be good advice!

Choreography, lighting, sound and costumes were pin sharp and in all, Jersey Boys is a show well worth seeing.
Sit back and go on a roller coaster ride of some favourite songs and some great back-story from the 60’s and the 70’s. Oh what a night and what a well worked tale.

Stars: 4.5/5

Jersey Boys plays at HM Theatre Aberdeen until Saturday 25th August

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley, Images © HMT

Jun 062018
 

Duncan Harley reviews Flashdance The Musical @ HMT Aberdeen

Flashdance The Musical plays at HMT Aberdeen until Saturday 09 June 2018.

It’s steel-town Pittsburgh Pennsylvania circa 1983 and, in this Billy Elliot come Rosie the Riveter aspirational tale, dance junkie Alex dreams of graduating top of the class from Shipley Dance Academy.

Played by Strictly Come Dancing Champion Joanne Clifton, our heroine is addicted to both welding-rods and rhythm, but not necessarily in that order.

Boiler-suited to the local steelworks by day, Alex twilights’ as an exotic dancer at the local night-club.

Pursued by Nick the factory boss’s son, she sticks to her career plan and eventually, following a series of set-backs, bags both the dancing career and the heir to the family fortune. It’s a familiar story-line.

This kick-ass juke box style musical has the verve to include the legendary Harry’s Bar – birthplace of the Bloody Mary – in the line-up but there is no sign of Hemmingway. And as the dedicated Alex struts her stuff a splendidly curmudgeonly club-owner in the shape of Harry, played by Rikki Chamberlain, provides a warm-hearted sanctuary to all and sundry.

Maniac, Steeltown Sky, Gloria, I Love Rock & Roll, Manhunt and of course that sensational What A Feeling title track inhabit this juke-box musical and a good few Brit-stars strut the stage.

Heart throb Ben Adams and Strictly Joanne Clifton certainly fulfill a promise or two and the band of course play on.
In the big-kickass scheme of things, despite the dazzling choreography and the explosive energy, Flashdance The Musical somehow hasn’t aged gracefully. There are occasional attempts at humour and the dialogue is well enough put together but the ‘Cinders makes good’ storyline has maybe been done to death over the decades.

It may have been Sondheim who mused on those heady production-lined musicals which, in the main, seem to follow the chemistry of old established fame:

If you emerged from the theatre humming all of the tunes, it’s probably because you entered the theatre humming all of the tunes”.

Go see this though. You won’t be disappointed; that is if you can bag a seat. It’s all in the best possible taste and it generally does pretty much what it says on the tin.

Five stars? Well maybe four. And, of course, I really enjoyed the nostalgia element of it all. But blown away? I’m not completely sure. What a Feeling.

Directed by Hannah Chissick with choreography by Matt Cole, Flashdance The Musical (A Selladoor Production) plays at HMT Aberdeen until Saturday 09 June 2018

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © APA

May 312018
 

Duncan Harley reviews Sunshine on Leith @ HMT Aberdeen

A modicum of politics, a wee measure of Leith and a whole lot of heart inhabit this latest production of Sunshine on Leith.

The musical first saw light at Dundee Rep in far off 2003 following a review of the back catalogues of several Scottish bands by playwright Stephen Greenhorn.

Awaking from the whisky-fuelled review session, Stephen found a post-it note, written in his own hand-writing from the night before, with the words “Proclaimers musical?” written on it. Sunshine on Leith was born.

Since then the musical has morphed into film then back to stage again and now features around eighteen original Proclaimers songs from the day.

Director James Brining would go on to say that:

“One of the really interesting things about the Proclaimers as musicians and songwriters is the breadth of their influences. They’re political – they’re fiercely supportive of Scottish independence and they write about relationships with brutal honesty.”

With a central theme which can only be described as a search for belonging, Sunshine on Leith paints a sometimes-difficult portrait of Scottishness. Identity, sentimentality and relationships come under the spotlight as returning heroes Davy – Steven Miller – and Ally – Paul-James Corrigan –  struggle manfully to reintegrate following a tour of the Afghan battlefields and Davy’s dad Rab – Phil McKee – wrestles with truth, love and morality as he faces consequences of a long-forgotten affair.

The script seamlessly flits from the crisis-fuelled love lives of the ex-squaddies to the crisis-ridden events which emerge to challenge the community. A vicious bar-fight in a Hibs pub, a break-up or two and the emotional rollercoaster of that long-hidden affair inhabit this tale of ordinary folk facing ordinary challenges.

Indeed, the complete ordinariness of this storyline is its true strength. There are no high-kicking brashly dressed chorus-lines here.

The folk in Leith are only slightly caricaturised and, with a fluid set flitting from the familiar High Street to the local boozer, one could almost be forgiven for walking on-stage to mingle with the performers.

As for the songs, all of the big Proclaimers numbers are there. Sky Takes the Soul, Hate My Love for You and Letter from America are just for starters.

The musical numbers sit seamlessly within the dialogue and the band, who are onstage throughout the entire performance, wander amongst the actors sometimes as buskers more often simply as cast-members. Even the title lyrics:

“My heart was broken, my heart was broken; Sorrow, Sorrow, Sorrow, Sorrow.” are used with commendable restraint.

All in all, this is a splendid revival of a commendable classic.

Directed by James Brining with choreography by Emily-Jane Boyle, Sunshine on Leith plays at HMT Aberdeen until Saturday 02 June 2018

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © APA

May 172018
 

Duncan Harley reviews The Kite Runner @ HM Theatre Aberdeen

The brutal rape of young Hassan by sociopath Assef and his cohorts sets the tone of this touring stage adaptation of Khaled Hosseini’s best-selling novel.

And the child-rape is not the only gut-wrenching scene from the book to be splashed all over the stage in front of the theatre audience.

An execution by the Taliban, a bone-crunching beating or two and tales of death by landmine are intermingled with implicit references to paedophile driven child abduction and the stoning of adulterers.

Not that the above events appeared gratuitous. Indeed, they are central to the telling of the tale. It’s just that they are shocking. The rape may well bear allegorical significance in relation to the 1979 Soviet invasion and death by landmine is described as a good way for an Afghan to die.

As for the stoning of adulterers and the abductions, well, these simply add to the overwhelming uneasiness which this production induces. Indeed, at the end one audience member was heard to comment that she was going home to have a few unpleasant dreams.

Is there a point to The Kite Runner? Well, as a tale of betrayal, guilt and eventual redemption the answer is probably a resounding yes. And as a short sharp introduction to a brutally immersive style of theatre, again the answer is probably a yes.

Its not that we actually see the rape or indeed the landmine deaths. But we can almost smell and taste the drama of it all. And that is no easy thing for an audience intent on seeking out an evening of entertainment.

The story, narrated directly to the audience by Amir – an Afghan refugee living in California, concerns the period surrounding the Soviet invasion of Afghanistan and the plot leads us relentlessly through the harshness of the early Taliban period.

Amir’s childhood betrayal of his loyal friend Hassan is central to the plot and his quest for redemption is the final goal.

A simple set comprising bare dusty boards with a backdrop of a giant kite, split in two halves provides stark setting for the action.

Raj Ghatak’s Amir both participates in the drama and leads us through what is in essence the tale as told in the novel, filling in the gaps with lengthy monologues and generally doing a splendid job of compering the unfolding drama taking place all around him on stage.

At times though, he perhaps has far too much to say and perhaps that is the danger when scripting the play of the film of the best-selling novel. Sometimes less is better.

Hassan is played admirably by Jo Ben Ayed and also plays his own son Sorab much later in the performance. At times, and this is no criticism, resembling an organ-grinders monkey he dutifully covers for his friend Amir even unto death at the hands of the Taliban.

All is not angst and wringing of hands however.

There are lighter moments such as the scene where Amir’s dad Baba, Gary Pillai, politely informs Amir and Hashim that in point of fact John Wayne does not speak Farsi and has probably never even been to Iran. Now that is indeed a revelation.

With live music by Hanif Khan, The Kite Runner is directed by Giles Croft. Adapted from the novel by Khaled Hosseini the production plays at HMT Aberdeen until Saturday May 19th 2018.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley and Images © APA

May 032018
 

Duncan Harley reviews Legally Blonde – The Musical @ HM Theatre Aberdeen

There’s a little bit of line-dancing, a couple of very camp cupids and a lot of pink in this musical and I mean a hell of a lot of pink!

In fact there’s enough pink to tempt Barbara Cartland back from the grave.

Indeed honey sweet romance, or at least the very prospect of it, is at the core of this tale of girl meets boy Hairspray styled musical.

Not that Legally Blonde lead Elle Woods in any way resembles the heavy set high-schooled Tracy Turnblad.

But the plot treads that familiar path of redemption in the face of adversity. Except of course that, in lieu of Hairspray’s ‘Corny Collins Show’, Legally Blonde – The Musical relies on the medium of a trad-clad Harvard Law School to get the message over.

And not that Legally Blonde takes itself too seriously. The opening line ‘OMG you guys, enjoy the show!’ pretty much sets the tone.

This is a show to enjoy and not one for deep analyses.

The sexual politics are perhaps somewhat dated and, although the pink-laden message of emancipation is central to the story, there is really nothing new here.

Splendidly camp lines such as “Is he gay or European” and “Depending on the time of day the French go either way” kind of give the game away.

The storyline pretty much follows that of the film of the book. Based on the 2001 movie, the plot convolutes around the downs and ups of Malibu blond Elle Woods who gets dumped by would-be senator boy-friend Sheridan Smith the third.

Smith is off to explore the ivy leagued portals of Harvard Law School. Against all the odds, and in a determined effort to stalk the poor man, Elle worms her way into the hallowed institution and takes up the cudgels of the law.

Along the way we meet Bruiser the Chihuahua, a lovable hairdresser called Paulette and Elle’s various Harvard classmates.

Cute Chihuahua’s aside, Lucie Jones’s Elle pretty much steals the show although soap veteran Rita Simons’ portrayal of the romantically downtrodden Paulette runs a pretty close second.

Paulette’s ‘Bend and Snap’ slapstick comedy turn with the hunky UPS man is pretty slick although the accompanying line dancing routines seemed somehow superfluous.

Male lead-wise, it’s pretty much a no-contest.

Bill Ward’s Prof Callahan dominates and commands the stage during both the Harvard and the courtroom scenes; that is of course until the courtroom escalates into a hilariously Cabaret themed farce.

The music and the lyrics are well delivered but are maybe not particularly memorable, relying perhaps a ‘tad’ much on OTT costumes and energetic choreography to woo the audience. However there are splendidly classic musical moments to be had. Watch out for Elle’s love-sweet duet with David Barrett’s Emmett.

As an all singing and all dancing musical, Legally Blonde is a whole lot of fun and if last night’s stand-up applause is anything to go by then the show delivers exactly what it says on the tin.

Choreographed and Directed by Anthony Williams. Musical Director James McCullagh, Legally Blonde – The Musical plays at HMT Aberdeen until Saturday May 5th 2018.

Tickets from Aberdeen Performing Arts Tel: 01224- 641122

Words © Duncan Harley and Images © Robert Workman

Apr 192018
 

Duncan Harley reviews Fittie Fittie Bang Bang @ HM Theatre Aberdeen.

Broad Street may not quite be on a par with Broadway, but if this year’s Aberdeen Student Charities Campaign production of the brand new musical Fittie Fittie Bang Bang is anything to go by, then theatre-wise at least, the Granite City is well on the way to becoming the Manhattan of the north.

Previous productions have included titles such as ‘An American in Powis’, ‘A Midstocket Night’s Scream’ and of course last year’s musical extravaganza ‘Michty Mia!’.

However, this year’s production of ‘Fittie Fittie Bang Bang’ must surely take the biscuit.

Bond writer Ian Fleming was a keen follower of motor racing and the original Chitty tale evolved from stories involving a series of monstrous aero-engined cars funded by the richly eccentric ‘Bentley Boy’ speed-king Count Louis Zborowski in those far off roaring twenties.

In the subsequent Hollywood production, the Chitty story involved one of Zborowski’s racing cars being rescued from the scrapyard by a gang of cheerily red-faced middle-class school-children.

Fast forward to this week’s student production of Fittie Fittie Bang Bang and a dastardly plot involving the consignment of Aberdeen’s old folk to the scrapyard takes to the HMT stage.

With electoral fraud firmly to the fore, Trump look-alike Lord Provost Dean Fine plans to revive the ailing fortunes of the Granite City using a series of sinister measures intended to clear the streets of the elderly inhabitants of the city.

A suitably evil ‘Grunny Catcher’, ably played by Callum Anderson, is set loose and before long the city’s OAP’s begin to disappear. Provost Fine, played by Reece James Duncan, announces plans to build a border wall around Torry while in far off Fittie the search begins for the missing old folk of Aberdeen.

Enter Bradley Phillips as Dick Van Dyce, Becky Hossick as Provost’s daughter Effie Fine and Victoria Barvinko as the Provost’s trophy wife Nadine Fine.

Will the red-haired Lord Provost succeed in his dastardly scheme? Or can Dick and his merry gang rescue the imprisoned OAP’s from a fate worse than death in Aberdeen’s Marischal College Premier Retirement Home.

Add in a flying fish-van plus some splendid musical numbers and, judging by last nights full-house, last years total of £92k raised for local charities looks likely to be well on the way to being exceeded.

A 5 Star must see!

Musical direction is by Matthew Rose with choreography by Sophie Hamilton Pike and stage management by Graeme Shepherd.

The musical, Fittie Fittie Bang Bang plays at HMT Aberdeen until Saturday 21 April 2018

Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley and Images © HMT Aberdeen

Apr 122018
 

Duncan Harley reviews Some Mothers Do ‘Ave ‘Em at HM Theatre Aberdeen

Originally broadcast on prime-time BBC television during the 1970’s, Some Mothers Do ‘Ave ‘Em ran to 23 episodes over three series and attracted audiences of millions.

Originally starring Michael Crawford as Frank Spencer, the story-lines featured the hapless Frank innocently stumbling his way through life whilst creating complete confusion amongst all who came into contact with him.

Catch phrases such as “Mmmm – nice” and references to the cat having “done a whoopsie” litter the scripts and Crawford’s portrayal of the accident-prone Frank generally embodies an element of camp-comic- innocence.

Somehow ‘Some Mothers’ has managed to dodge those often-wearying daytime television schedules which feature endless re-runs of Dads Army and On the Buses, which is probably the saving grace which makes Guy Unsworth’s stage adaptation palatable to a 21st century audience.

Suitably de-camped and replete with good old-fashioned double-entendres, this revival of the TV classic works well on the stage and should appeal widely.

Those of us familiar with the BBC original may find that Joe Pasquale’s interpretation of the Frank Spencer character takes a little bit of adjusting to. Yes, there is the familiar shrill Spencer tone and those infuriatingly spectacular miscommunications certainly fit the bill. But is this enough?

Fortunately, after only a very few minutes exposure to a more mature Frank a script replete with the familiarly iconic bungling awkwardness reveals that all is well in Spencer-land.

With the trademark blue beret and Bogart themed gaberdine trench coat firmly to the fore and a benign portrait of a young Humperdinck gracing the living-room wall, Pasquale excels in the role and it is soon clear that Frank is back with a vengeance.

The plot involves a good few misunderstandings regarding Frank’s impending fatherhood, a splendidly drunken mother-in-law played by Barbara Fisher and of course Frank’s thwarted ambitions to become a stage-magician.

A rapidly crumbling set, complete with indoor chicken shed come granny flat only adds to the hilarity as Frank’s DIY skillset is found to be somewhat wanting. Exploding electrics, faulty plumbing and dodgy banisters are only a small part of it all and by the final curtain the Spencer house is literally in ruins.

Frank’s long-suffering wife, Betty is played pretty much true to the original by Sarah Earnshaw but with a few splendidly new twists and David Shaw-Parker’s Father O’Hara Duelling Banjos sketch really has to be seen to be believed.

Add in some prune wine plus a couple of culinary disasters and even those unfamiliar with the original will be laughing out loud.

The slap-stick routines, the absurdities of a farcical storyline and the double entendres fly thick and fast throughout this production which begins somewhat appropriately with Frank’s iconic line “Hello Betty, I’m home”.

And indeed, he is.

Some Mothers Do ‘Ave ‘Em plays at HMT Aberdeen until Saturday April 14th
Tickets from Aberdeen Performing Arts Tel: 01224- 641122
Words © Duncan Harley and Images © HMT Aberdeen