'Allo 'Allo

Clitheroe was briefly twinned with Nouvion with this stage production of the 1980s TV comedy series set in occupied France. Younger theatre-goers may not remember this television show from 30 years ago - the twin evils of Tik Tok and Twitter, along with the various other fiends of social media have shortened attention spans and thrown any sort of appreciation of the past out of the window - but that didn’t matter here. Audience members of a certain vintage (myself included) settled down in anticipation for a blast from the past in the company of René, Edith, Herr Flick and the rest. I have to say, it was a mixed evening’s entertainment for me but it was great to see audience numbers swelling to pre-lockdown levels once more.

My well known antipathy towards stage adaptations of TV series is well-known and the quickest flick through my old show reviews will reveal all. I have the greatest respect (and in many cases, profound admiration) for the TV shows in question but an end of the pier adaptation of a (then) contemporary television favourite can only result in diminishing returns theatrically speaking as the years roll on. As a nipper, I loved seeing ‘Hi-de-Hi’ on stage in Blackpool at the Winter Gardens but I would walk a very long way in the opposite direction to avoid such a fate 40 years on! My loss I’m sure but it’s best to be honest. Am I perhaps procrastinating in getting started on my show report…? Apologies: I think I probably am: let us first concentrate on the positives. 

A lovely set, well built, well constructed, superbly fit for purpose and dressed in fine style, greeted the appreciative audience who waited with bated breath for some ‘Allo ‘Allo shenanigans. Richard Hubbard as René was clearly a stalwart performer and set the scene admirably. It was all the more remarkable to learn that he had stepped in during rehearsals when the original René had to bow out: impressive work in creating the central character and mastering the role so well Richard. Music worked well generally - and with covering set changes - and there was a very appealing ambience on stage in Cafe René throughout the evening. 

It wasn’t long before we were introduced to Nouvion’s answer to Ms Piaf in the form of Lesley Haworth as Edith. I have long admired Lesley as a performer and it was lovely to see her disguising her fine vocal faculties as the tone deaf Edith! A lovely performance here: warm, humorous and twinkling. 

Cheeky waitresses Yvette and Mimi were brought to life with panache by Sue Taylor and Louise Lord, brimming with girlish glee. Sue Paramore did sterling work as Michele of the resistance, looking sleek and wonderful in all of her disguises, helped - or rather, mostly hindered - by Inspector Crabtree, comically brought to life by the always chucklesome Trevor Lord. ‘Master of disguise’ LeClerc was one of my favourite characters of the evening, very ably performed by Steve Cooke. Our merry band of freedom fighters all brought comedic charm and sparkle to the stage and worked well together.

The Third Reich was ably represented by a rogues gallery of swastika clad nitwits frequenting Café René. Matt Haworth and Alan Herron gave good value as the Colonel and the Captain respectively and Daryl Dewhurst was a cheeky addition to the team as Gruber, the tank driver. When we arrive at the evils of the Gestapo, Herr Flick and Helga were finely played by Sam Crabtree and Wendy Watson who brought a solid quality to their roles and were certainly audience favourites. Completing the line-up of German ne’er do wells was Barry Phillips as the hard talking General Von Schmelling, complete with compulsory Teutonic limp and no-nonsense Germanic swagger. 

Our secreted airmen were played by the twin stars, Brian Haworth and Peter Lambert, of whom we saw far too little of during the show, and Café René was populated throughout the evening by hapless peasants, Nikki Bithel, Mel Crook and Darren Moss who did a good job.

This was a play which a large audience appreciated and very much enjoyed - there was a warm glow in the auditorium which was very much apparent throughout the evening - and it was great to see audiences returning to the theatre after all the COVID carry-on. It’s a testament to the team effort evident at Clitheroe at all levels that this group effort was obviously so well appreciated: stage crew, set design, stage build, props, and everything inbetween. 

Many thanks to everyone at Clitheroe for making myself and Craig so very welcome. It wasn’t altogether my cup of tea but it was lovely to attend such a homely and friendly society, delivering heartfelt amateur entertainment. Unfortunately, I’ve recently had to learn that it’s better to keep show reports as brief - and as shorn of any sincere and reasoned personal opinions - as possible.

All the best with your future productions!

 

 

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