'By Jeeves' is the latest in the online broadcasts of Lloyd-Webber musicals during our time in lcokdown under the banner heading of "The Shows Must Go On". In this case it was a filmed version of a performance at The Goodspeed Opera House in Pittsburgh, USA.
'By Jeeves' is a little different from the majority of Andrew Lloyd-Webber's fayre, although the music is in places extremely similar to others in his repertoire. The show though is on a much smaller and more intimate scale, and rather than grandiose sets and costumes or large showstopping production numbers, we are taken back in time to the world of P.G.Wodehouse's most famous creations; those of Bertie Wooster and his valet, Jeeves. With Wodehouse's genius and wit behind him, Lloyd-Webber needed a contemporary to equal him in order to write the book and lyrics for this show, and he was found in the admirable personage of Alan Ayckbourn. The show therefore feels very much more like a play with incidental songs (which is perhaps exactly what it is) more than a Musical. It is, as far as I can recall, the only Lloyd-Webber show I have ever seen that was in the traditional 'book musical' format. (ie with dialogue). In the filmed Pittsburgh production Ayckbourn also directed the show.
The Musical first hit the London stage under the title of 'Jeeves' in the 1970s and was an immediate flop I seem to recall. Some years' later, 'By Jeeves' was born and I saw this production in the West End in 1996. I haven't seen or heard of it happening elsewhere since! I remember really enjoying the show, laughing throughout and feeling energised by the simplicity but beauty of such a scaled-down production.
Revisiting this musical 24 years later it didn't have the same appeal at all. Maybe that was because it was a video / film rather than a live performance, or maybe my own feelings towards the musical have changed, but I suspect it's a mix of both. I found this version to be rather slow and pedestrian, very slow at times. The camerman had tried to do some 'arty' style shots and there were long and unnecessary pauses between speeches which were simply boring. The idea of having an 'audience' and being greeted by said audience was a good one and in general it worked well, but it also slowed the production down and lengthened the show's running time too. Had the pace been picked up more, then there would have been more laughs, it would have been more comedic, and Jeeves's character would have seemed aloof and diffident, rather than much the same as the rest in terms of speed and dynamicism on the stage.
Overall though it was an enjoyable watch. The story tells of Wooster, on stage, ready to entertain his 'loyal fans' with a banjo concert. However the banjo appears to have been stolen and so in order that 'the show must go on' he is forced into recounting one his erstwhile adventures whilst being continually prompted by Jeeves on the course of the narrative, until such a time as another banjo can be acquired. The story is based on several stories of Wodehouse, but centres around 'The Code Of The Woosters', and his entanglment with three young ladies and their would-be suitors. Finally a banjo is brought on stage - albeit without strings! - and Wooster entertains with a silent banjo finale!
Most of the actors hit their characters spot on, and managed that very fine line between character and caricture with aplomb. Others weren't quite as successful in this regard. Again, one of the problems here I think is that the cast were American, and so, disadvantaged in the same way as I would be if I were called upon to play a gunslinger in the days of Wild Bill Hickock! Jeeves, played by Martin Jarvis, hit the nail squarely on the head, and I loved his portayal. Whereas John Scherer's Bertie Wooster still had hints of the Vaudeville Showman, as well as betraying a concealed American accent from time to time. His choreograpahy for the final number was ill-advised too. Rock-n-Roll moves etc were not around nor would have been thought fitting at the time of Wooster. Elvis and Frankie Valens were still some years in their future. And to give a special mention to my favourite characterisation and performance from all, then it was Donna Lynne-Chaplin's Honoria Glossop, which was pitched absolutely perfectly and was a delight to watch.
Ayckbourn's direction was inventive and apt, although I did feel there was a little too much reliance on stock characterisations, and faux comedy. Very difficult though when there is no "atmosphere" and there is a screen dividing the action and my passive responses to it. I enjoyed the window and ladder idea, that worked excellently and don't remember it being done that way on the West End. I also enjoyed the cow very much. Extremely funny without stealing thunder.
For those expecting either another Rock-based blast or a lavish pseudo-opera take, as the last few offerings have been, then they might have found this show a little underwhelming, but it has charm and appeal, and I love the humour. A world of British upperclassness which was affectionately and quite accurately lampooned by Wodehouse, which we now view with rose-tinted spectacles, and even maybe long for a return to such an era. Goodness knows with all the hatred and strife in the world at the moment, not to mention the dreaded virus too, we could all do with a Wooster in our lives to spice thinsg up a bit, and a Jeeves to make sure we are kept out of harm's reach even when we do go too far!
Reviewer - Matthew Dougall
on - 8/5/20
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