Spike by Ian Hislop & Nick Newman – review

An entertaining look at a comic genius but without his anarchic spirit

★★★

Production photo from Spike by Ian Hislop and nick Newman at The Watermill Theatre in Newbury UK
Spike at The Watermill Theatre. Photo: Pamela Raith

Spike by Nick Newman and Ian Hislop at The Watermill Theatre is a labour of love. Spike Milligan had a long association with Private Eye and the authors, both from the magazine, clearly feel great affection for him. However, they faced three challenges in conveying his comic genius, and weren’t entirely successful in overcoming them, despite devising an entertaining play

Firstly, I’m not sure that many people under 60 will know about Spike Milligan or remember The Goon Show. He was a brilliant comic writer and performer, best known as the writer of The Goon Show. Trouble is, the last Goon Show to be transmitted on what was then called the BBC Home Service was back in 1960, followed by a couple TV specials over the next decade or so.

It was Milligan’s surrealist and absurd humour that made The Goon Show a phenomenal hit. He was an acknowledged influence on future comedies and comics including Monty Python and Eddie Izzard.

After The Goons, Milligan continued to be a fountain of anarchic humour. He wrote poetry, plays, and books, and appeared in a number of TV programmes through the 70s and 80s. He died twenty years ago.

The Goon Show is still what he’s best known for and that’s what this play concentrates on. We see the early resistance from the BBC to the Spike’s revolutionary and rebellious style, through to the show becoming hugely popular. We also learn about Spike’s difficult personal life, his traumatic experience as a soldier in the second world war and his mental illness, and how the pressure of writing the Goon Show took its toll.

Secondly, the actors playing Milligan and his fellow Goons Peter Sellers and Harry Secombe cannot hope to recreate their genius: their voices, their timing, their understanding of each other, the way they perform as if they have just seen the script and are enjoying it as much as the audience.

Sensibly the cast don’t try to do impressions of the originals. Instead, they act out their own interpretation of these characters. Which makes it an interesting story about three friends but nothing like as funny as you might expect from a show about The Goons. The jokes are there, of course, particularly plays on words- a sign on Milligan’s door says ‘Do not disturb, I’m disturbed enough already’- but they cannot hope to deliver them with the power of the actual Goons. The voices can never be quite as ridiculous nor the irony as sharp.

Production photo of John Dagleish in Spike at The Wtermill Theatre in Newbury
John Dagleish in Spike. Photo: Pamela Raith

I’m not in any way denigrating the actors. John Dagleish as Milligan is an excellent comic actor with a great plasticine face and he plays his part with verve, giving a strong impression of a man on the edge. George Kemp as Sellers and Jeremy Lloyd as Secombe provide excellent support. Robert Mountford represents the stiff voice of authority very well. Margaret Cabourn-Smith, James Mack and Ellie Morris complete a talented cast.

The tortured comic genius is a familiar trope. Stories of artists rebelling against and being rejected by the establishment until they are finally embraced are familiar too. But, in the case of Milligan, it’s a tale still worth telling.

To beef up the laughs, the writers cleverly weave in an almost discrete story about the sound effects. Sound effects were an important part of The Goon Show. Spike Milligan set the challenge of producing surreal sound effects. Margaret Cabourn-Smith, in Joyce Grenfell mode, humorously explains how they were achieved. Perhaps because the audience has no ‘original’ to compare this with, she gets the most enthusiastic response of the evening.

Director Paul Hartwho is The Watermill’s Artistic Director, keeps up a good pace, so you won’t be bored.  Katie Lias helps with a set designed to change quickly from a recording studio to various offices, a battleground, a pub and Spike’s home. She uses the back of the stage well. Often there are Milligan-ish cartoons telling us the location of the scene, and projections high up suggest the state of Milligan’s mind.

Which brings me to the third challenge.  In a play mainly about Milligan’s mental state, how do you convey his exploding mind? Yes, John Dagleish sparks with happiness and crumples with despair, and yes, the story tells us how, in his mind, his battle with army officers becomes a battle with the BBC authorities. It’s an interesting observation of him but the play doesn’t get inside his head. It’s conventional in a way that Milligan would never have been.  In producing a tribute to Spike Milligan, maybe Nick Newman and Ian Hislop should have injected their play with more of their hero’s anarchic spirit.

Spike is at The Watermill Theatre in Newbury until 5 March 2022

Paul received a complimentary review ticket from the producers.

Click here to watch this review of Spike on YouTube

 

 

Kiss Me, Kate at The Watermill – review

Oti Mabuse energises fun-packed Cole Porter musical

★★★★

Production shot from Kiss Me, Kate at The Watermill Theatre Newbury
Kiss Me Kate at The Watermill. Photo: Pamela Raith

Cole Porter’s Kiss Me, Kate is a gift to performers. It has a great story- a play Taming Of The Shrew within a play in which the lead actors in conflict on stage are at loggerheads behind the scenes. It has tuneful songs with clever lyrics. It has strong characters. It is a perfect musical comedy. Changing it would destroy it. Like putting lipstick on the Mona Lisa. You’d think.

Paul Hart, The Watermill’s artistic director, has decided to take the risk and adds more comedy in the form of farce by making it a kind of Kiss Me Kate Goes Wrong plus a dose of sexual politics.

Most of the time he pulls it off. But not always. Petruchio famously spanks Kate but having her spank him as well, in the cause of sexual equality, takes the edge off the subsequent joke that she can’t sit down. That’s one bum note. 

Another is making so many things go wrong from the start because this takes away from Lily’s belligerence being the factor that brings down the previous order of the theatrical production. If it falls apart without her help, that removes one of the golden threads that is woven into the cloth of this glorious musical. 

In a similar way, if the actor manager Fred is a loveable idiot from the start, his descent from a big headed authoritarian to broken fool is lost.

Production shot of Rebecca Trehearn & David Ricardo-Pearce in Kiss Me, Kate at The Watermill Theatre
Rebecca Trehearn & David Ricardo-Pearce in Kiss Me, Kate. Photo: Pamela Raith

And yet, there’s no denying the added farce is very funny. The chorus has to improvise an encore when the curtain fails to rise. Actors leave the stage on the wrong side and have to scurry across in the background. The witty lyrics are still given full weight, so this an evening in which the laughter rarely stops.

It helps that there are some terrific performances. Rebecca Trehearn and David Riccardo-Pearce as the lead actors Fred and Lilli have strong, pure voices that both soar and express pathos. They are engaging performers. Fred running round the auditorium buttonholing members of the audience as he asks Where Is The Life That Late I Led? had the audience in stitches.

Production shot of Kimmy Edwards in Kiss Me, Kate at The Watermill Theatre
Kimmy Edwards in Kiss Me, Kate. Photo: Pamela Raith

The highly talented Kimmy Edwards as Lois/Bianca does justice to both her big numbers- Tom, Dick Or Harry and the showstopper Always True To You In My Fashion. The latter climaxes with her skirt ripped off and Edwards high kicking in true showbiz style, using drumsticks like majorette batons.

Sheldon Greenland and Robert Jackson make amusing gangsters who become enchanted by the theatre, eventually exhorting us to Brush Up Your Shakespeare. Jay Perry is a charming Bill and Andre Fabian Francis is a stupendous dancer.

Talking of the dancing, Oti Mabuse does an excellent job as choreographer. Given the small space at The Watermill, there’s no opportunity for big chorus line numbers but there are quite a few energetic ensemble numbers that are all the more thrilling for squeezing flamboyant movements into the limited room.

Finally, the piece de resistance: all the actors play instruments which gives the show an added sense of excitement and makes the music seem like an extension of the acting.

So, while I may have small reservations about this production, I found it a thoroughly enjoyable evening’s entertainment.

Kiss Me, Kate can be seen at The Watermill Theatre until 21 September 2019

Click here to watch the review on YouTube