There was a rather large portion of my friends who, when I mentioned that I would be going to review this play, asked, 'Who's Miles Jupp?' quickly followed by, 'Who's David Tomlinson?'. I replied that the former is an actor and comedian and you will have seen him more than likely as a contestant on one of the popular TV shows such as 'Mock The Week' or 'Never Mind The Buzzcocks'; you might know him as Nigel in 'Rev' or even, depending on their age or the age of their children, as Archie The Inventor in 'Balamory'. The latter however was a actor best known for his comedy roles in films such as 'The Love Bug', 'Beadknobs And Broomsticks' and the one for which he will be eternally famous, Mr. Banks in 'Mary Poppins'. [Tomlinson lived to the age of 83, sadly passing away in 2000, but was canny enough to retire from acting before acting retired from him. The anecdotes about his US agent, Harry Gunnell were some of the best all evening.]
I pre-empt their next question by explaining that James Kettle has written a one-man play about the life of David Tomlinson, and written it espceially for Miles Jupp to perform. The reason being that Kettle believed that Tomilnson and Jupp share certain physical and vocal similarities and as such it would be a lovely way to celebrate one of the lesser known heroes of the silver screen.
The stage is set, (designed by Lee Newby), a dreamy surrealist painting in pale blue and white. Clouds against a blue sky are the syc, whilst the reduced size stage complete with blue velvet curtains contains an arm-chair, a dressing-screen, a small A-frame ladder, and the centre-piece, a white front door with the shape of Tomlinson in signiture pose cut out. Footlights, black bowler hats and a black umbrella complete the picture. It is theatrical, abstract, with a dream-like quality which, once Jupp had spoken his first few lines, became apparent why. He had been awoken, and was unsure himself whether or not everything was real, and so the entire soliloquy was presented as a man might chat to a friend, telling them titbits and anecdotes from their life, jumping about with the chronology, and digressing.
Jupp proved to be a consumate performer. An engaging and pleasing actor who had the ability to hold our interest and attention throughout, despite there being very little dynamic varriation in the production. Kettle was right too, Jupp did have many physical and vocal similarities with Tomlinson - so much so in fact that at times it was very difficult for me to distinguish one from the other, and I am certain that was the idea. We completely bought in to Jupp BEING Tomlinson not simply acting him. (and yes, there is a difference).
Kettle's script though doesn't sparkle. It is credit to Jupp and directors Didi Hopkins and Selina Cadell for bringing as much from it as they did. It also skirts over so many things which we, as an audience, would've loved to have known. Much is made of his relationship with Walt Disney, and these anecdotes were very interesting, but we got to know precious little about his time working on what was, after all, his most famous role in Mary Poppins. His second most famous role, that of Emelius in 'Beadknobs And Broomsticks' was mentioned only once, and even then, only as a rather too convenient way of making an interval.
His private life was quite well documented, as we learned much about his duplicitous bigamous father and his relationship with him, but we learned almost nothing about his mother or his siblings. We learned about his first wife, and their marriage in New York and her subsequent suicide, but we got to know nothing of his second wife. We learned about his youngest son, Willy, who was one of the first children in the UK to be diagnosed as autistic, and his unique and tender relationship with his father; but again, nothing was mentoned of his other sons.
Perhaps it was felt that there was only so much one could fill a play with, and so the more dramatic or pivotal moments of his life were emphasised. I would have liked to have known more about his early career and his rise to fame. I'm sure there must have been some spicier anecdotes there than the rather lame ones we were proffered.
The lighting this evening (Matthew Eagland) was hugely distracting. Casting awkward shadows, and not really lighting the requisite area quite fully enough, making Jupp move into the light or bend slightly in order to make sure his head was fully lit. This should never have been an issue, but sadly it was, but Jupp continued with aplomb.
A highly engaging and entertaining performance by Jupp, making the best of a mediocre script, which, if given three words to describe they would be gentle, inoffensive and pleasant. Worth catching if you can, even if you didn't know who David Tomlinson was (well, you do now...!)
Reviewer - Matthew Dougall
on - 22/2/19
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