Alan Parker’s quick-firing, splurge-filled
musical was written for children – to perform and to watch. It was made famous by the 1976 film (launching
the stellar careers of Jodie Foster and Scott Baio) and has been regular youth
group and school production fodder since it was first staged in 1983. A unique concept back in the 1970s and even now,
almost 50 years later, all the characters are adults played by children. This is the glory of Bugsy Malone – it was an
inspired, untested idea, and it worked! The film delighted adults and children alike, depicting the violent
gangster mobs of the 1920s as fresh-faced youngsters with guns that fired cream. It quickly passed into British classic status
and has enjoyed several revivals in single venues over the years.
But, it would be unheard of to tour the number of children needed to stage
Bugsy within child performing restrictions, so this touring production brings us a half and half version. Seven of the main characters are played by
children, and the ensemble is made up of young adults (who take several minor
roles including the gang members, Fat Sam’s dance girls, Cagey Joe, Leroy
etc). And, here lies the rub – we now
have neither one thing nor the other. The ensemble are unerringly fabulous: strong, drilled performers with
boundless talent and stamina. The
children are, with no doubt, also talented with lovely singing voices but they
pale against the ensemble, through no fault of their own. Clearly they would shine as child characters
in ‘Matilda’ or ‘Les Mis’ but here, they lack the strength to match their adult
cast-mates – with the notable exception of Delilah Bennett-Cardy (Blousey) and
Fayth Ifil (Tallulah).
That said, this is an exuberant performance! Staged in a deceptively simple space with
clever use of lighting, flies and a warehouse door, back street New York is
depicted in all its grimy glory. The
height of the back wall is a visual force throughout, and the direction makes
great use of the different doors and stairs. The costume design is a feast for the eyes; the contrast of the showgirls’ sequins with the boys sharp suits is delightful. Jon Baosor’s design is perfection, from the
pre-lit, flown nightclub tables to the skeletal framed sedan car. An enthusiastic peppering of baton bulbs
bring the glitz and glam where required. There is an adroit cinematic quality – a nice nod to the show’s
beginnings.
The music has had a re-write since the '80s, and
it has made this production fresh and punchy. Many of the numbers have been extended with dance breaks, and this
allows for Drew McOnie’s choreography to really wow. The precision and clarity of the ensemble
dancing is truly spell-binding. The big
cast numbers are fizzing with energy and acrobatics. Many of them have a real feel of the silent
movie era, with exaggerated body language and visual humour, and the sheer height
they clear with their leaps is astounding. Particular highlights were ‘Bad Guys’ and ‘So You Wanna Be A Boxer’. In contrast, Bennett-Cardy and Ifil’s solos
were soulful and sweet – these girls have voices to die for, their clarity and
tone surpassing their years.
The story too has benefitted from an edit – the
dumb cop duo of the original are gone, and while I noticed their absence, they
didn’t leave a gap in the storyline. The
audition scene was a hoot, and the addition of seeing the would–be performers
‘backstage’ after Lena’s return was a nice touch. The cast move the show along at a lick,
packing in the laughs between the musical numbers. Isham Sankoh’s Fat Sam, left to clear his own
scenery after the demise of his gang, was a clear hit with the audience and his
energy and timing was to be admired.
So, ignoring the dichotomy of a half-and-half
cast, this is a family hit of a show. The glee just bounces off the stage. I have never seen a cast have so
much fun. The energy is infectious and
the music well-written, the choreography is jaw-dropping. This is slick, funny and fast – catch it if
you can!
Reviewer - Justine Sutcliffe
on - 31.8.22
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