THEATRE: Novello Theatre, London
DATE: 18-08-2011
TIME: 14:30
WITH: Reece Shearsmith, Kristy Hoiles, Christopher Howell, Ann Emery, Jack Edwards, Adrian Scarborough, Mark Meadows, Howard Jones
DIRECTOR: Sir Richard Eyre
CHOREOGRAPHER: Stephen Mear
“Betty Blue Eyes,” the musical adaptation of the film “A Private Function” with Dame Maggie Smith and Michael Palin, is a witty, winning musical. It has received a smashing production thanks to Sir Richard Eyre (Mary Poppins, Guys and Dolls) and features the best English musical score in years by George Stiles and Anthony Drewe (Honk!). No wonder it is one the best reviewed productions of the year. I was therefore stunned to learn of its premature departure from the West End, shortly after having seen it. How is this possible!?
The whimsical story - based on a screenplay co-written by Alan Bennett (The History Boys) – is not only very funny, but also timely. It deals with a royal wedding (of Elizabeth and Philip) and the dire economic circumstances of Austerity Britain in 1947, which of course somewhat resemble the UK in 2011. Ron Cowen and Daniel Lipman – who are best known for their work on American television (Sisters, Queer as Folk) – have written an excellent book that captures the typically English spirit of the story and organically flows into song.
Reece Shearsmith, Sarah Lancashire & Ann Emery
Set in Yorkshire the musical’s central couple are a meek chiropodist (foot doc) Gilbert and his wannabe social climbing wife Joyce. When the town’s elite have ignored them one time too many they decide to steal the huge pig, Betty. The pig was (illegally) being reared for the town’s official royal wedding dinner and the plan is to kill it for food, which is scarce in a town living on rations. But things take an unexpected turn when Betty turns out to be too cute (although very flatulent!) to kill. With her big eyes, long lashes, and expressive face the animatronic Betty is a work of art and engineering. This being an English story it is of course, besides about marriage rejuvenation, very much about class and status.
After having seen several Broadway musicals recently one immediately notices that this show is of a different temperature. Director Richard Eyre and his team take their time to introduce the characters and set up the story. The character of Joyce in some ways rivals Lady Macbeth in ambition, but she also fantasizes about being a diva on stage. Her flights of fantasy give the production an excuse for some great production numbers choreographed by the ever-inventive Stephen Mear. The choreographer even has a first in a musical: 'urineography, which means he has devised movement for some of the men while they are peeing. This is symbolic for the many surprising little moments ín Betty. Another one of these arrives earlier in the show when the tired women of the town sing about Gilbert’s ‘Magic Fingers’, while he is working on their feet. The surprising action, lyrical content and gorgeous melody are truly splendid.
Reece Shearsmith is quite endearing as the schlemiel Gilbert. Vocally, though, he is not that strong and the tunes have such great melodies that sometimes one wishes he was a better singer. In the performance I attended Gilbert’s ruthlessly ambitious wife was played by Kristy Hoiles, who is lead Sarah Lancashire's understudy. She was very funny and has a terrific throat, but I felt she could have been a bit more vicious at the start to make her character arc even bigger.
Shearsmith as Gilbert
The supporting cast consists out of wonderful character actors who give life to the townsfolk. Olivier-winner Adrian Scarborough is a hoot as the fanatic meat inspector and Ann Emery (excellent as Billy Elliot’s original grandma) turns in a masterly comic performance as Gilbert’s greedy 84-year-old mother-in-law. Emery is escpecially memorable in the scene where she thinks Gilbert and Joyce are planning to murder her. During the final dance she also gets to display moves that defy belief. She truly is a trooper!
The second half is much faster paced and lots of it is of a farcical nature. Anthony Drewe’s lyrics, like 'Pig No Pig' and 'Finale Ultimo', keeps up this farcical pace and recalls the best of Gilbert & Sullivan’s patter songs. At times the show also seemed to invoke Sweeney Todd, for example when the stuckup women are complaining about the bad smells emanating from Gilbert's home.
It remains a mystery to me why this show did not manage to attract a big enough audience to keep running. Even the use of Kylie Minogue’s voice for Betty (only heard at the end), which was heavily publicized, apparently could not put enough bums on seats. Perhaps at this moment in time people just want a recognizable story and spectacle no matter how badly it is told. This is what Ghost the Musical is delivering and people are eating it up. I would advice everyone who is truly passionate about musicals to catch this great show while you still can.
My prediction is that Betty will have a long life in smaller venues in the near future. It is so well written that it can thrive in any space and will probably gain immensely from the intimacy of a smaller house like the Menier Chocalate Factory or the Donmar Warehouse. There is still life in this precious porker I bet.
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