Story Highlight

Plays with a vintage feel, Betty Blue Eyes and Blithe Spirit, are reviewed by Magic's very own theatre buff, Paul Phear.

Back to the Forties.
 
If I was asked to write a song about a post war chiropodist called Gilbert it'd probably go straight to the top of the worlds worst song chart. However, faced with this unique challenge George Stiles (tunes) and Anthony Drewe (words) have created a piece of musical genius with their song Magic Fingers, from the new Cameron Mackintosh produced musical Betty Blue Eyes.  Not just a beautiful melody, it touches every point on the compass of human emotion, from tragedy to comedy, even a little eroticism. And (musical theatre appreciation, lesson one) it establishes both character and situation. Top marks. There are several other gems in their score. For example, Nobody would be a show-stopper in most musicals, and here it's belted out by Sarah Lancashire in a musical master-class performance. I'm glad to report that this is the show that firmly places Stiles and Drewe amongst the leading musical songwriters of this or anytime.
 
So music and songs are great, what about the rest? The plot will be familiar if you've seen the Alan Bennett film A Private Function. The more 'well to do' residents of a small Yorkshire town are planning a celebration party for princess Elizabeth's 1947 wedding and are rearing a roasting pig away from the prying eyes of the government meat inspector and the other townsfolk. I think the pig is named Betty in honour of our present Queen, but I hope there were no pigs on the spit last Friday that were called Kate. Off with their heads if there were.
 
The era after the war of lost husbands, ration books, hard graft and town halls full of wild Lindy Hopping dancers is evocatively recreated, with breathtaking dancing and Cameron Mackintosh's trademark ensemble scenes. Gilbert is sweetly played by League of Gentleman's Reece Shearsmith, and he gives real depth to this sensitive man. His mother in law is Ann Emery (until recently Billy Elliot's gran) in another role that benefits from her brilliant comic timing. 
 
There's also an outstanding West End debut from Betty herself, who I'm sure will be collecting the Olivier award for best performance by a singing porker next year. There were ooh's and aah's from all over the Novello theatre when she appeared on stage. If there hadn't been so much publicity about this animatronic oinker I'm sure you'd believe she was real.. that is until she starts reacting to her fellow (human) performers. Even Barbara Woodhouse couldn't train an animal that well. One for the teenagers there.
 
Betty may be full of wires and motors, but this lovable new musical comedy has a beating heart, an English soul and is as welcome as a bacon sandwich after a big night out. Highly recommended for all ages, it can only be five oinks!
 
 
My other night at the theatre last week was courtesy of my local rail service. All my trains were cancelled due to a major incident so rather than hang around at Euston I decided to head back into the West End to see if I could find a last minute bargain along Shaftesbury Avenue. The only show I hadn't seen was Blithe Spirit at the Apollo, so with ten minutes to curtain up I asked the box office for their best deal. Five minutes later and £25 lighter I'm in the stalls, row C, seat 15 on a 'student stand by'. Very good value. Don't laugh, I could be a mature student.
 
The reviews I'd read hadn't been great, but with an all-star cast I thought, why not give it a go, and I'm very glad I did. It's a vintage comedy vehicle written in the early forties by Noël Coward which sparkles with his wit and gift for light comedy. You may know the film version which starred Rex Harrison and Margaret Rutherford. Successful novelist Charles (Robert Bathurst) and his elegant wife (Hermione Norris) - yes the posh pair form Cold Feet - are hosting a dinner party where the 'star' guest is to be Madame Arcati, an eccentric local spiritualist. She's been invited to give Charles inspiration for his next plot which will feature a fake medium.
 
Alison Steadman plays the mystic who it turns out really can wake the dead, namely Elvira, Charles's late wife (musical theatre legend Ruthie Henshall, in a non singing role). Hilarity and confusion soon follow. It's hard to see how Alison Steadman could wring any more comedy from the scatty Madame, and if she's not yet a national treasure, that honour can't be far away. 
 
I really enjoyed Blithe Spirit, the costumes and set are beautiful (appreciative gasps when the curtain went up) and all the performances were as crisp as Coward's dialogue. This is a perfect show if you have older relatives who don't appreciate outdoor language, and enjoy a sophisticated night out. Four stars.