Jon Fiber Archives - thespyinthestalls.com

★★

“There’s much here that could be funny if only it were slicker, shorter and snappier.”

I must admit to not having seen the first Cluedo stage adaptation, but I am reassured that this second play is all new (writers Laurence Marks and Maurice Gran). I can confess to having spent many hours playing the legendary board game in my youth and thought myself an expert sleuth at the time (with rather a secret crush on Miss Scarlett). So I was delighted to see on entering the theatre, a beautifully designed set comprising a giant portrayal of the classic gameboard with a cartoonesque manor house superimposed upon it (designer David Farley).

There is nothing noir or sinister about this production, and nor should there be. We see a shady character lurking in the shadows on occasions but, otherwise, the gruesome nature of murder by whoever, wherever, with whatever is lighthearted. The characters are as cardboard cutout as they can be, resembling it too, as they often stand so statically (director Mark Bell). Nearly the whole ensemble overplay their roles, but the production lacks a twinkle in the eye or a knowing acknowledgement that this is what they are doing.

The plot, such as it is, sees 1960s rock superstar Rick Black (Liam Horrigan) assemble a group of people in his massive country manor house to assess the new album which is going to resuscitate his floundering career. A slow preamble lets us in on backstory amongst the gathering and we discover past and present liaisons, secret identities, and who might have it in for whom if pushed far enough. There could be a lot of fun to be had here but much of the narrative is too long and too slow. Running gags run on too far and the staging is often clumsy and ponderous. We are also witness to a most contrived and least convincing love scene.

The characters are, of course, dressed in their appropriate colours but not garishly so. Colonel Mustard could have been yellower, Professor Plum more purple. Miss Scarlett certainly looks the part in a bright red mini dress, and Mrs Peacock too in an elegant blue gown. Between scenes, quasi-balletic sequences see the group of suspects and soon-to-be victims move around the house often in effective slow motion (movement director Anna Healey). Windows, doors, and picture frames are flown in and out as the company explores the building from room to room.

Sadly, the ensemble isn’t as slick as it could be. Jason Durr as Colonel Mustard shouts in a broad southern states American accent that greatly affects the clarity of his diction. Ellie Leach (in her stage debut) as Miss Scarlett is competent enough but lacks nuance. Edward Howells as the non-professor Professor Plum does what he can with a character so weak that he can’t himself explain quite what he is doing there. However, Hannah Boyce as Mrs Peacock commands the stage and our attention, holding her character and accent throughout. Dawn Buckland gives the performance of the night as the down-to-earth Cook, Mrs White, who pops up in unexpected places suggesting she knows the secrets of the house’s hidden passages. Jack Bennett as the “I’m an actor, not a butler” butler Wadsworth carries a single joke and much of the weight of the physical comedy.

But the whole thing doesn’t quite hold together. There’s much here that could be funny if only it were slicker, shorter and snappier.

The Ladybird Heard

Palace Theatre

Reviewed – 17th July 2021

★★★★

“a pleasurable distraction during the dog days of summer”

It’s school holidays again, and despite the pandemic, it’s the time of year when parents look around for something to do with the kids. This year, producers Kenny Wax and Matthew Gregory have answered the parental call for help with What the Ladybird Heard. The sixty minute show, now showing at the Palace Theatre in London’s West End, is based on the best selling children’s book by Julia Donaldson (story) and Lydia Monks (pictures). It’s about the right length for the kindergartner and primary school set. Bringing this well loved character and her farmyard friends to the stage is a shrewd move on Wax and Gregory’s part. What the Ladybird Heard is perfect summer material to welcome the winter pantomime and Christmas audiences back into the theatre. The cast of four (with a last minute appearance of the ASM as a policeman) has an easy and skilled connection with the audience. It’s a pleasure to watch them show off their acting, dancing and musical abilities.

That said, if there is one weakness, it is the way the story has been dramatized. There are lots of engaging touches, including the set, designed by Bek Palmer, and based on Lydia Monks’ pictures from the book. The way in which the animals are created by the actors from bits and pieces scattered randomly around is fun to watch. The fourth member of the cast, farmhand Raymond (doubling as the dastardly burglar Lanky Len), appears to be an usher randomly recruited from the auditorium, much to the audience’s delight. The songs, composed by Jolly Good Tunes, are just that. And Howard Jacques has an abundance of nice lines in his lyrics. Nevertheless, What the Ladybird Heard is, at its heart, a story about stopping a crime. The Ladybird, with her farmyard helpers, has to stop the Farmer’s prizewinning cow from being stolen by a couple of thieves. It’s a dramatic situation, with the right amount of suspense for a satisfying denouément. But the plot takes a while to get going. There’s a lot of business about introducing the story, instead of just plunging straight in. It’s also unclear whether this is going to be a new story about the Ladybird, or just a rehash of the first story in the series. There is a strong feeling that there isn’t really enough material in the book to fill sixty minutes of stage time, even with all the singing, dancing and audience participation.

Ultimately, What the Ladybird Heard works because of its cast. Director Graham Hubbard makes the most of the talents of Roddy Lynch (Farmer), Nikita Johal (Lily/Ladybird), Matthew McPherson (Hefty Hugh) and James Mateo-Salt (Lanky Len), and the team does not disappoint. From building puppets to playing musical instruments, singing and dancing, the actors are up for any challenge, and that includes managing the audience. They are particularly adept at handling the show’s educational aspect, which is all about identifying the animals and pairing them up with the appropriate animal sound—crucial to the plot. The actors also work hard at helping the audience spot the ladybird, who is as thrifty in her appearances, as she is in her words.

If you are looking for a pleasurable distraction during the dog days of summer, take your kids (or someone else’s) to What the Ladybird Heard. The Palace Theatre staff are well organized for a visit to the theatre, and that includes the hardworking front of house team who are doing their best to manage social distancing and good hygiene practices, both inside and outside the theatre.

CLUEDO 2: THE NEXT CHAPTER at Cambridge Arts Theatre

★★

“There’s much here that could be funny if only it were slicker, shorter and snappier.”

CLUEDO 2: THE NEXT CHAPTER at Cambridge Arts Theatre

Reviewed on 25th March 2024

by Phillip Money

Photography by Alastair Muir

UK tour of Cluedo 2 continues to July – click logo below for further info

Previously reviewed at this venue:

CLUEDO 2

CLUEDO 2

Palace Theatre

Reviewed – 17th July 2021

★★★★

“a pleasurable distraction during the dog days of summer”

Reviewed by Dominica Plummer

Photography by David Monteith-Hodge

The Ladybird Heard

Palace Theatre until 29th August then UK tour continues. Details whattheladybirdheardlive.co.uk

Recently reviewed by Dominica: