THE FROGS

Southwark Playhouse Borough

★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

“The Frogs” – the musical ‘freely’ adapted by Stephen Sondheim and Burt Shevelove from the ancient Greek comedy by Aristophanes – opens with a paradox. The time is the present and the place is Ancient Greece. This tells us that the writers have given themselves license to tweak (to put it politely) the original for a modern audience. The central premise, however, needs little updating: Aristophanes used his play – at a time of crisis – as a biting satire of politics and religion, bemoaning the corruption inherent in society’s leaders and calling for the rejection of the status quo. Two-and-a-half-thousand years on we can pretty much still relate to that. What the writers have done is sprinkle it with contemporary references, added a fair dose of Sondheim’s inimitable music and lyrics and, with the help of Nathan Lane (‘even more freely’ adapted) dished up a couple of hours of mind-bogglingly, zany and funny – but inconsistent – musical theatre.

The title is a touch misleading. Yes, there are frogs. Frogs that populate the River Styx (of course!) and close Act One with a droll and incisive choral number; but beyond that they barely make an appearance. What “The Frogs” focuses on is the epic journey of Dionysos and his slave Xanthias into the Underworld and back in a bid to put the world to rights. Dionysos believes only art can save civilisation but contemporary dramatists aren’t up to scratch, so he decides ‘to go to Hell and back’ (this particular joke is milked for all its worth) to bring George Bernard Shaw back from the dead. He finds Shakespeare down there, constantly at loggerheads with Shaw. The two of them end up fighting it out in a linguistic dual, competing to see which one Dionysos will choose to accompany him back to the land of the living.

The journey is a bit of a meandering rollercoaster. Or rather log-flume, or water-chute. Although mercifully no water tanks have been employed to create a realistic representation of the Styx. Instead, Samuel Biondolillo’s evocative lighting, and Libby Todd’s clever breakaway set depict the worlds we travel through. Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act. They don’t break the fourth wall, they just take it for granted there isn’t one – which makes their on-stage chemistry and affectionate rivalry as master and slave, even more of a delight to be immersed in. They draw us into the story with ease, and we are willing accomplices. Joaquin Pedro Valdes is having great fun as the ab-flexing Herakles. Carl Patrick’s boatman Charon ups the fun stakes, veering dangerously close to indulgent, but Georgie Rankcom’s strong directorial hand keeps the cast firmly in check, possibly with the exception of Victoria Scone, as Pluto, who brings her Drag Race persona crashing onto the stage with the confidence of a fully-fledged Goddess. (Scone plays Pluto only until 31st May, after which a rota of other performers takes a week each).

The comedy’s sharpness is honed during the later stages of the show, when Bart Lambert’s Shakespeare and Martha Pothen’s Bernard Shaw tackle each other with words like drunkards brawling with bottles. Lambert’s and Pothen’s comic timing and grasp of their respective character’s linguistic styles is extraordinary and the humour, whilst more subtle, becomes increasingly satisfying the more it ditches its pantomime pizzazz.

More of a play with music than a musical, “The Frogs” is full of anachronisms and topical updates that bring the message closer to a contemporary audience. Even closer than the musical’s 1970s premiere, with references to influencers and Andrew Lloyd Webber’s ‘Bad Cinderella’ – among many others. This does add to the already heady mix of styles that can be a bit alienating, and the pointed political commentary (‘you get the leader you deserve’ for example) is a touch blunt and predictable. But there is no denying the sheer sense of fun, anarchy and silliness. Definitely worth hopping along to.

THE FROGS

Southwark Playhouse Borough

Reviewed on 27th May 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at Southwark Playhouse venues:

THE FROGS

The Good Life

Cambridge Arts Theatre | UK Tour

Reviewed – 9th November 2021

★★

“the sit-com format over two hours disappoints”

For anyone not in the know, The Good Life (by John Esmonde and Bob Larbey) was one of BBC TV’s most successful situation comedy programmes airing between 1975 and 1978 which elevated its four main actors to near national treasure status. How then are we to judge this new stage version (adapted and directed by Jeremy Sams), taking the characters as they are without censuring them for not being the faces and voices that we so loved? Well, needs must.

The curtain rises on the morning of Tom Good’s (Rufus Hound) fortieth birthday and his feeling that life is not all it could be. By the end of the day he has quit his job designing cereal box plastic toys and embarked on a mission with wife Barbara (Sally Tatum) to become self-sufficient, turning their suburban house and garden into a freeholding along with chickens, pigs and a marauding goat called Stephanie (a deliberately humorous animatronic puppet). Next door live their friends, haughty and houseproud Margo (Preeya Kalidas) and Tom’s now ex-boss Jerry Leadbetter (Dominic Rowan).

Sams explains in his programme note of the contemporary resonances there are to be heard in this story but the overwhelming feeling is of a period piece. The characters are not much developed beyond what we know already, the biggest laughs come from references to chicken Kiev and black forest gateau, and despite some additional storyline from Sams – including one scene involving the smoking of pot which is unlikely to have made it onto 1970s TV – the key episodes follow events from the TV series.

An ingenious set design (Michael Taylor) incorporates two revolving flats that rotate to reveal either the Good’s kitchen or the Leadbetter’s living room. 1970s furniture – sideboard, hostess trolley, electronic organ, serving hatch – provide the period feel. (A banner in the final scene places us specifically in 1977).

Four loosely-linked scenes ensue of the ups-and-downs of the Good’s new life, and how it affects their relationship with the Leadbetters but the sit-com format over two hours disappoints. When the main joke of one scene is that ‘the Pigman has nobbled the cake’ and the drama reaches its climax with an inebriated tango and a conga around the living room, it all feels just a little lame. An attempt for greater poignancy with a story involving Barbara’s attempts to save the life of a new-born piglet is too long and clumsily staged.

The energy of the ensemble cannot be faulted. There is some excellent quickfire repartee between Tom and Barbara, and Rufus Hound seems most comfortable in his role, but what is missing is any sparkle between the couple. We should see their shared enjoyment when they tease Margo – who does not understand why something is amusing – and the occasional innuendo should seem naughty but falls flat. Next door, Preeya Kalidas does her snooty best as Margo but we only see one side of her character and her propriety always slows the pace. Dominic Rowan does a fine job as Jerry placating his wife and toadying to his boss. Surprisingly, the star turn of the evening comes from Nigel Betts whose four cameo roles with different costumes, hair, and accents are much enjoyed.

There are laughs aplenty to be had in this amiable entertainment which evokes memories of comfy afternoons in front of the telly, a glass of Liebfraumilch in the hand, but, as Tom says right at the start, “is that it?”

THE FROGS

Southwark Playhouse Borough

★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

THE FROGS

Southwark Playhouse Borough

Reviewed on 27th May 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at Southwark Playhouse venues:

THE FROGS

THE FROGS

THE FROGS

Cambridge Arts Theatre | UK Tour

Reviewed – 9th November 2021

★★

“the sit-com format over two hours disappoints”

There are laughs aplenty to be had in this amiable entertainment which evokes memories of comfy afternoons in front of the telly, a glass of Liebfraumilch in the hand, but, as Tom says right at the start, “is that it?”

Reviewed by Phillip Money

Photography by Dan Tsantilis

The Good Life

Cambridge Arts Theatre until 13th November then UK Tour continues

Previously reviewed at this venue:

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