THE MASSIVE TRAGEDY OF MADAME BOVARY

Southwark Playhouse Borough

★★★

“a high-spirited affair that the cast dive into with relish, commitment and enviable energy”

Gustave Flaubert, the champion of realism, spent five years writing “Madame Bovary” only to find himself charged with immorality. Thankfully he was later acquitted, and the notoriety that the trial provoked accelerated the novel’s rise to bestseller status. It is now considered Flaubert’s masterpiece; one that maintains its revered place in literature (its influences have reached the likes of Marcel Proust, Virginia Woolf and James Joyce). Okay, the novel was a touch bleak, to say the least, and we all know that it ends in tragedy. John Nicholson might be exaggerating the magnitude of the misery by prefixing his retelling of the story with the word ‘massive’. And he might be missing the point by unashamedly turning it into a farcical comedy. By his own admission, Nicholson has ‘lovingly derailed’ the story. Interpret that how you will. After all, theatre is all about free expression, and this play is very free with it.

The story of the cuckolded country doctor and his frustrated, pleasure-seeking wife is turned on its head as it wields its slapstick and wry exposition with such force that the fourth wall has no chance of standing. Even a sabotaged attempt at changing the ending is allowed into the edit. The result is a stew of French and Saunders, Blackadder and Upstart Crow, with a generous side order of pantomime. It is a high-spirited affair that the cast dive into with relish, commitment and enviable energy. Georgia Nicholson, as the ruffled Madame Bovary seeking amorous adventure, is surrounded by the whirlwind threesome of Stephen Cavanagh, Ben Kernow and Darren Seed who play at least a couple of dozen other characters. The story begins at the end with Madame Bovary recounting her life story to a pair of ratcatchers who have arrived in the village of Yonville. At times it is almost like a speed run. A ‘Potted Panto’ performed by ‘The Reduced Flaubert Company’.

Buried deep in the silliness are strokes of ingenuity. Kirstie Davis’ staging is slick and precise. Beneath the mayhem there is a reliance on accuracy of movement and timing, which the actors are well practiced at. Grace Murdoch’s movement and choreography is an extended conjuring trick, albeit one that seems to have wandered in from the set of ‘The Play That Goes Wrong’. Like the jokes, the influences are manifold, and the bawdy humour does become relentless and predictable. Nevertheless, the versatility of each performer shines through as they switch characters and costume at lightning speed.

You cannot help but admire the irreverence. Their approach to Flaubert’s text is embodied when, at one point, one of the ratcatchers exclaims “you took the words out of my mouth… but in a different order… and with different words”. There is a clear echo of Eric Morecambe’s famous line brilliantly delivered to André Previn. The bravery of this company matches its tongue-in-cheek audacity. In his mausoleum in Rouen, I’m sure Flaubert must be grinning, even if it can’t quite conceal an expression of open-mouthed bemusement. Over in Southwark, the audience seem to be of a similar opinion. Between moments of bewilderment the laughs come thick and fast (though as a grin rather than the out-loud variety) in this risqué, eccentric and anarchic comedy.

THE MASSIVE TRAGEDY OF MADAME BOVARY at Southwark Playhouse Borough

Reviewed on 9th December 2024

by Jonathan Evans

Photography by Tanya Pabaru

Previously reviewed at Southwark Playhouse venues:

THE HAPPIEST MAN ON EARTH | ★★★★★ | November 2024

[TITLE OF SHOW] | ★★★ | November 2024

THE UNGODLY | ★★★ | October 2024

FOREVERLAND | ★★★★ | October 2024

JULIUS CAESAR | ★★★ | September 2024

DORIAN: THE MUSICAL | ★★½ | July 2024

THE BLEEDING TREE | ★★★★ | June 2024

FUN AT THE BEACH ROMP-BOMP-A-LOMP!! | ★★★ | May 2024

MAY 35th | ★★★½ | May 2024

SAPPHO | ★★ | May 2024

CAPTAIN AMAZING | ★★★★★ | May 2024

WHY I STUCK A FLARE UP MY ARSE FOR ENGLAND | ★★★★★ | April 2024

THE MASSIVE TRAGEDY OF MADAME BOVARY

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★★★★

“this well-produced, entertaining and colourful show is perfect for anyone of any age to start engaging in live theatre”

Cambridge’s favourite dame (Matt Crosby) returns to the annual pantomime, directed by Michael Gattrell, for festive fun in an outlandish display of costumes with bad jokes, and adlibs. This year, as Gerty Goose, the Dame’s good-nature is tested with impossible-to-refuse temptations that ultimately lead to a decision that wealth and beauty do not bring happiness.

A revolving glitterball above the auditorium and flashing disco lights during the Overture set the scene (Lighting Designer Mike Robertson). Beautifully painted show cloths representing scenes of Cambridge (Set Designer Ian Westbrook) bring a familiarity to the story. Let’s not say ‘provincial’ because this production is of West End standard.

Two rivals in the battle of good over evil – Fairy Virtue (Charlotte Wakefield) and Demon Vanity (Pippa Duffy) – face off in rhyming couplets. This is all a bit static and serious and a missed opportunity for greater cringe-worthy rhyming, but Ms Wakefield raises the roof with her two solo numbers. Ms Duffy is quite a soft villain. Only minimal thunder rolls and lightening cracks at her entrances but this is no bad thing.

Alicia Belgarde as Jill Goose, the innocent girl-next-door and potential love interest, is a delight and Gemma Sutton, as principal boy Jack Purchase, beautifully spoken. Ms Sutton is just right in her thigh-slapping role, acing her solo song when it comes. Audiences will fall in love with this wonderful couple.

“Absolute highlight of the show is the ensemble”

Performance of the night – as chosen by the children brought on stage during the performance – is that of Steven Roberts as Sammy Goose. His energy, clowning and movement are all excellent, keeping the momentum between scenes. As an audience member, I found shouting “Hello, Sammy” on each entrance just fine, but the need for a regular “Sammy-Hug” is a bit icky. A running gag about a lost dog provides some good punning. Jokes about Cambridge go down particularly well. I’m not overly impressed by the repetition of business and product names which seem rather close to product placement.

Absolute highlight of the show is the ensemble (Dance Captain Sophie Karaolis). Their colourful and eye-catching costumes (Costume Designer Sue Simmerling), swirling petticoats, wide smiles and perfect moves (Choreographer Kevan Allen) are sheer joy. Life’s a Happy Song, their song and dance. Yes, it is.

The plot is pretty thin even by panto standards (Writer Al Lockhart-Morley) and the progress into the final scene isn’t really explained but it hardly matters. Some mention of the cost of living crisis is used as an early plot device but is quickly forgotten. A few topical and political jokes fall rather flat. The traditional messy slapstick scene is not as slick as it yet may become but it is funny enough and the youngsters love it. There’s no smut.

The producer states in his welcoming speech that pantomime is the “recruiting sergeant of the theatre” and with an audience of thousands to welcome through the doors this year, this well-produced, entertaining and colourful show is perfect for anyone of any age to start engaging in live theatre.

THE MASSIVE TRAGEDY OF MADAME BOVARY

Southwark Playhouse Borough

★★★

“a high-spirited affair that the cast dive into with relish, commitment and enviable energy”

THE MASSIVE TRAGEDY OF MADAME BOVARY at Southwark Playhouse Borough

Reviewed on 9th December 2024

by Jonathan Evans

Photography by Tanya Pabaru

Previously reviewed at Southwark Playhouse venues:

THE MASSIVE TRAGEDY OF MADAME BOVARY

THE MASSIVE TRAGEDY OF MADAME BOVARY

MOTHER GOOSE at the Cambridge Arts Theatre

★★★★

“this well-produced, entertaining and colourful show is perfect for anyone of any age to start engaging in live theatre”

“Absolute highlight of the show is the ensemble”

MOTHER GOOSE at the Cambridge Arts Theatre

Reviewed on 5th December 2023

by Phillip Money

Photography by Richard Hubert Smith

Previously reviewed at this venue:

Mother Goose

Mother Goose