AMATEUR THEATRE REVIEW: Dick Barton, Special Agent - Bolton Little Theatre, Bolton.

Dick Barton was not just an intrepid hero of the immediate pot-war period; he was symbolic of an era that still believed in British greatness and derring-do before the 1960s, when deference came to be replaced by cynicism and re-assessment. Accordingly, Dick Barton is an ideal subject for a musical farce, as much lampooning the old black and white stereotypes as providing an affectionate send-up.

Phil Willmott’s Dick Barton is a pacey comedy interspersed with songs which are variously classics from the era (‘A Nightingale Sang In Berkeley Square’) or music from classical opera with new lyrics, keeping a suitably period feel throughout. With a large, twelve-strong cast, there is limited doubling up, unlike in certain other re-workings of similar classics from the era such as ‘The Forty Nine Steps.’ The result gives the feel of a big show, with a wide range of settings and numerous costume changes.

There is a basic plot to Dick Barton but that is of minimal importance as the real focus is on the characters and the numerous absurd scenarios. There is something of pantomime with the impossibly bad villains and absurdly heroic heroes coupled with stiff-upper-lip British reserve set against the sexuality of 1920’s-style Germany. The enthusiasm of the entire BLT cast was evident from start to finish as all these clichés were given life and vibrancy and the pace during the show seldom slacked with tight direction by David Smart.

Daniel Clynes played Dick Barton as if impersonating '50’s comedian Tony Hancock which perfectly fitted the lampooning of the original square-jawed character. A stand-out performance was Sue Mallett as Marta Heartburn, who not only played a very sensual femme-fatal but gave an excellent rendition of two 1940’s cabaret songs. Kevin Walsh was amusing as the villainous Baron Scarheart whilst not above singing a good song himself and there were other memorable performances such as Joel Cheetham as delightfully clichéd Scotsman, Jock Anderson, in tartan trousers (what else?) and Chelsea Blundell-Nelson as Daphne Fritters, who also sang with gusto. However, there was a feel of ensemble with this production, with all the chorus being well used in a variety of roles, notably Jim Smith doing his best to blend in with the cabaret girls wearing stockings and suspenders (not quite ’The Rocky Horror Show’).

The varied settings were impressively creating with large amounts of period furniture set against, for the most part, a black screen, which created an arty feel, focussing on the actors. The final scene provided a worthy visual climax (without giving any spoilers). Good attention had also been given to the costumes which certainly gave the right period feel, right down to almost everyone, at times, seeming to wear raincoats.

Interspersed amidst the above were a number of visual gags which were well executed, at times being almost Pythonesque. Other nice touches were an authentic looking BBC announcer’s microphone and liberal breaking of the fourth wall as certain entrances and exits were made to the rear of the auditorium.

Credit must finally be given to Carl Austin who not only gave sterling piano accompaniment to the singers but not infrequently participated in the comedy. Dick Barton is not a musical as such but the frequent songs play an important part in the overall feel of the show and this was very well handled at Bolton Little Theatre.

An enjoyable piece of theatre and a virtual full-house on a Monday night; ample evidence of the popularity and importance of amateur theatre in Bolton; well done, BLT.

Reviewer - John Waterhouse
on - 13.9.21