'Allo 'Allo

Based on the hugely popular TV series of the same name, written by Jeremy Lloyd and David Croft, the stage version of ‘Allo ‘Allo is a complete story in its own right and although an appreciation of the characters and the premise of the series would help, it can be enjoyed by anyone even if they’ve never seen the TV version. It is set in German-occupied France during WW2 and follows the adventures of hapless café owner René Artois as he tries to keep apart the Germans, the French Resistance, the British and the Gestapo who all want to use him for their own ends.

When the curtains went back, we were greeted by an excellent box set, which earned its own round of applause (not unusual for HIADS), representing René’s café, with lots of good detail and quality furnishings. We later saw this clever set (designed by Director Rob Finn) move on casters and fold into different shapes to reveal the café larder, Herr Flick’s office and even René’s bedroom and the local cinema. The problem with TV adaptations is they tend to consist of a lot of short scenes, and while the set was ingenious and the changes were carried out smoothly and with great efficiency by SM Tracy Ancsell and her crew, they did rather slow the pace, whereas small permanent sets front stage left and right might have allowed more seamless changes. Lighting and sound (Holly Sandford and James Wood) were excellent throughout, adding atmosphere. Costumes too were good, although there were some differences between the uniforms of some of the Germans, which looked a little odd. Minor quibbles.

René, the hub of the story, was played with consummate ease and great style by David Ellis. His accent was just right, and he quickly won the audience over with his amusing asides, breaking the fourth wall to explain the complicated plot. He was well paired with Linda MacDonald as his wife Edith. Suitably shrewish, she also had a nice line in off-key singing, and delighted in getting one over on her husband. Lucie Finn and Laura Duncan were perfect as the two waitresses Yvette and Mimi, both superb at using their womanly wiles to seduce René (who was not entirely reluctant!) Sue Finn also gave an excellent portrayal of Michelle (“I shall say this only once”) of the Resistance, and Andy Wharton made LeClerc suitably daft as the supposed master of disguise. All maintained their French accents really well.

Representing the invading forces, Gary Doe was spot on as the incompetent Colonel von Strohm, having great fun with his ‘viglet’, and Daren Cooper was suitably over the top as womanising Italian Captain Bertorelli. Jack Smith and Gill Harvey Whitten made a great comedy duo as Otto Flick and Helga, while Laurie Noble was the epitome of German pompousness as General von Schmelling. James Wood gave us a masterclass in camp innuendo as Lieut. Gruber. His facial expressions and reactions to René’s words were a delight.

I mustn’t forget Officer Crabtree. I have great admiration for the way Andrew Gibson delivered his words so fluently; they must have been very difficult to learn! Lastly, Tom Hudson and Richard Burkart were great as the daft British Airmen (and assorted French peasants).

There were some lovely directorial touches throughout the show – I especially liked René’s use of a box when cuddling Mimi, who was the taller of the two (it was the other way round in the TV show). The props list must have been a nightmare to assemble (big shout out to Tracy Ancsell and Dee Pearce), but they were all there and looked good quality too.

The jokes might be corny and the situations absurd, but along with the rest of the packed house, I laughed my socks off and enjoyed every minute of it. What better reward can there be after all your hard work putting the show together than hearing an audience enjoying itself so much, and the rapturous applause at the end?

© NODA CIO. All rights reserved.