“an amusing and brisk take on a sinister true crime”
At a time when popular culture is pervaded by zombies and the undead it would seem a play based on the nefarious exploits of Burke and Hare is apposite and this show doesn’t disappoint in seeking to tell the grisly story of their misdeeds.
It is however, a misapprehension to consider them as grave robbers, or Resurrectionists, as those who traded in corpses at the time were euphemistically referred to as they never actually dug anyone up. Edinburgh where they lived in 1828 was renowned as a centre for anatomical studies and there was always a shortage of cadavers. The “lazy Irishmen” as they are wryly described, abetted by Hare’s harpy of a wife – the “dragon lady” – supplied the demand by murdering sixteen people. They used an influenza epidemic as a cover and their client Dr Knox wasn’t one to ask questions.
The set (Toots Butcher) immediately drew one into this dark underworld with its busy squalor and ominously blood splattered gowns and curtains that masked the two entrances through which a seemingly endless stream of new characters zipped on and off in true Molieresque style. Ironically the legend “Miseratione Non Mercede” (Compassion Not Gain) hung over the whole proceedings. The lighting (Harry Armytage) was skilfully used going from bright to increasing gloom to demonstrate the looming menace of the story as the gruesome twosome and the shrill Mrs Hare started out on their desperate careers.
Music, performed on guitar and mandolin by the male cast and whisky featured in most every scene including several renditions of “Whisky In The Jar” which also formed a suitably rowdy and well deserved encore.
Alex Parry played the permanently inebriated and hen pecked Mr Hare as well as many of the victims, Hayden Wood was the largely clueless but ultimately conscientious Mr Burke and also Dr Knox, and Katy Daghorn was the harridan Mrs Burke and Dr Munro who narrated much of the sordid tale. All played with frenetic gusto and good comic timing making some bits seem almost ad libbed. Scenes that stood out were the rivalry between Knox and Munro as they vied for audiences for their dissections making excellent use of the height difference between the players. And the introduction of an entire family onto the stage leaving Alex Parry with the onerous task of portraying all seven, including a parrot, with only two hats as props was a bravura performance.
As to a favourite sound bite that would have to be “Care to catch a hanging sometime?” as a unique chat up line. Overall an amusing and brisk take on a sinister true crime that is to be recommended.
“a toe-tapping re-invention of the spirit of the era, interwoven with zippy and witty dialogue”
If, like me the music of the fifties is pretty much a closed book to you, but you’ve noticed the energy and appeal of classic numbers like ʽBlue Suede Shoes’ and ʽThat’ll be the Day’, then can I recommend a rocking show at the Watermill in Newbury which will really knock your socks off?
Dedicated fans of the music of the era should also go and see this compelling show, which is enthusiastically presented by a talented and vibrant young cast in the intimate and atmospheric old mill.
Described as ʽa story of teenage rebellion and the birth of a new musical era’, Teddy had its debut at the Southwark Playhouse in 2015 when it won Best New Musical at the Off West End Awards. It was written by Tristan Bernays with music by Dougal Irvine. In this fizzing revival, cast member Harrison White provides musical direction.
The show’s title refers both to the Teddy boys of the post-war era and to one of two central characters, who is named Teddy (George Parker). He and Molly Chesworth as Josie provide the dramatic focus for the piece, with the plot interweaving music and action provided by Andrew Gallo (drums), Freya Parks (bass guitar), Harrison White (lead guitar and keyboard) and Dylan Wood as the heart-throb vocalist Johnny Valentine.
The Teddy boys were Britain’s own response to American rock ʽn’ roll of the fifties. Their fashion style was inspired by a revival of Edwardian looks, and it was the Daily Express that first shortened the word Edwardian to Teddy.
But this show is more than just a nostalgia trip to the smoke-filled nightclubs and grim bomb sites of post-war London, with soundtrack to match. The music is a toe-tapping re-invention of the spirit of the era, interwoven with zippy and witty dialogue that has a real rhythmic poetry all of its own.
If Judy, the other name for the Teddy girls, was better known, ʽTeddy’ could almost be re-named after them, since it’s Molly Chesworth’s character that often takes centre stage. She and bassist Freya Parks have some witty riffs on the theme of women taking no nonsense from men.
An evocative split-level set-design by Max Dorey is complemented by moody lighting from Christopher Nairne. There’s a great dance number, and some brilliant music that will send you out humming. A great show not to miss.
