'The Best Exotic Marigold Hotel' is a stage play by Deborah Moggach based on her novel, 'These Foolish Things'. However I think we all know that in reality, the 2011 John Madden film is the more well known and probably the go-to for reference and comparison, not only with us reviewers but also majority of the general paying public.
It is fair to say therefore, that the stage adaptation, doesn't really live up to either the novel or the film, and despite the casts best efforts, is little more than a rather long-winded, gentle comedy, with and about stereotypical characters.
There is genuine warmth in this story, and, as with all good comedies, there is a darker and more serious underlay, which, in this case, is a veiled but barbed commentary on the UK's social care system and our irreverence of the elderly, alongside a look at contemporary India and how the Caste system still carries much weight as well as the lasting impact of Colonialism. But these are all dealt with in a very marginal way and not given much consideration.
The script has been updated slightly to bring us up-to-the-minute with Zoom and LGBTQ issues, but an overlong and underdeveloped first act which just meanders along never getting out of second gear, doesn't leave you wanting more. Fortunately the second act fares better, but the plot development here feels rushed, and the play only truly gets into its stride and finds its voice in the final few minutes of the play [the very awkward and eggy silence at the darkened dinner table notwithstanding].
Of course it is wonderful to see esteemed veterans of stage and screen still doing what they do best. Rula Lenska as a forthright and outspoken Madge, Paul Nicholas as a hen-pecked and yet not-so-devoted husband, and Hayley Mills as the sensible Evelyn. However, in this particular reviewer's opinion, it was some of the lesser known actors in this production who truly shone. My personal favourite being Marlene Sidaway's brilliantly observed Muriel, being perhaps the only character to lift Act 1 from the monotone.
With a composite set of the hotel courtyard, much of the atmosphere, colours, sights, sounds and busy-ness of India was lost, but it did capture the boredom and ennui perfectly, as well as the somewhat dated and peeling-at-the-edges charm and opulence. Whilst the lighting design sadly did not hit the mark at all this evening, casting many unwanted shadows, forcing principal cast members to act in either semi or total darkness in unlit areas of the stage, or in spots which were not quite large enough to accommodate them, and again, failed to capture the true colours of India. Fortunately the underscoring of Bollywood style Indian music was a joy, and this, along with some lovely costuming choices, truly helped to transport Salford to Bangalore.
A very curate's egg of a production, which should have worked much better than it did, and despite the entire ensemble cast doing their best to lift some wonderful lines off the page and breathe life into this heart-warming comedy, it fell short of the mark this evening sadly.
Reviewer - Matthew Dougall
on - 9.11.22
on - 9.11.22
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