‘Allo ‘Allo 2 The Camembert Caper

Attending The Attfield Theatre is always an absolute pleasure for so many reasons: the warmth of the welcome, the quality of the performances, and not least, the excellence of the sets. So, would my high expectations be met at this, the first show of the 2025–26 programme?

This can be answered in one word – yes.

The welcome at The Attfield is consistently warm and friendly. This hospitality extends not just to me as the NODA Regional Councillor, but to every member of the audience. Even when on the night I attend they had a full house (the entire run was a sellout – which speaks for itself). Speaking with patrons in the bar area and in the auditorium, it was clear that theatregoers truly appreciate the range and quality of productions staged at this wonderful venue.

‘Allo ‘Allo is, of course, a title well known to many – not only from the classic television series but also through its stage adaptation. However, this more recently published version was a first for me.

The plot remains reassuringly familiar: set in and around Café René in Nouvion, northern France, with the British airmen trying to get back to Blighty; Mother stuck upstairs with the flashing bed knobs; the portrait of The Fallen Madonna with the Big Boobies by Van Klomp (usually hidden in a sausage); René juggling his tone-deaf wife with his romantic pursuits; and a collection of rather incompetent German officers, along with a French-speaking British policeman, to complete the picture.

The challenge in staging such an iconic piece lies in audience expectation—do they want faithful impressions of the original TV characters, or are they open to fresh interpretations? This cast struck the perfect balance: the characters were instantly recognisable, yet each actor brought their own individuality and flair to the role.

The acting throughout was exemplary. The show was clearly well rehearsed and made the most of the stage as well as the auditorium.

Taking the lead was René Artois played by Mark Lord, who acts as narrator at times and side comments to the audience. He was well cast and perfect for the role. Edith Artois the tone-deaf cabaret singing wife played by Kath Evans was a joy as was Carrie Fisher as her mother Madame Fanny La Fan.

Grace Turner and I shall say this only once was great as Michelle as were Angela Sampson as Mimi and Debbie Jones as Yvette.

Jamie Evans as the iconic Officer Crabtree made the most of his poor French working disguise as a serving police officer.

Nick Chesters and Debs Watson worked as an ideal pairing as Herr Flick and Helga.

As the German officers were Stephen Humphreys, Alan Poole, Nathan Thomas and Jake Baker who also worked together in their scenes.

Two supporting performances deserve special mention. John Neilson was superb as the funeral director Monsieur Alphonse, while Malcolm Lord delivered a delightfully haphazard Leclerc, complete with the classic catchphrase, “It is I, Leclerc!” and wonderful facial expressions. Both had me laughing out loud.

Speaking of laughter, the can-can dance simply had to be seen to be believed – a moment of pure joy and energy.

Then there was the set. The front-of-house tabs were closed as the audience entered, and the reason soon became clear. When revealed, the café was instantly recognisable – the infamous door with its working bell, the bar, the staircase, and tables ready for customers. Two “French peasant women” were already seated, only to reveal themselves as the British airmen with their trademark “Hello!” greeting played by Morgan Richards and Rob Bound.

The true quality of the set became increasingly evident as the play progressed. It unfolded seamlessly to reveal other settings – Madame Fanny’s bedroom and Herr Flick’s dungeon among my favourites. The programme credits Andy and Michaela Turner for the design – congratulations to you both, and to everyone involved, for creating such an ingenious and adaptable set.

Lighting and sound were faultless throughout, perfectly complementing the action and adding to the show’s overall polish. The set, as always at The Attfield, was detailed, well-constructed, and of exceptional quality.

A huge well done to the talented cast and creative team. I, for one, eagerly await the next production at this wonderful venue.

In the programme, the director wrote: “I hope you enjoy this production as much as I have enjoyed directing it.”

I think it’s safe to say that I certainly did.

And so, onwards and upwards—having once again set the bar high—to the next production at The Attfield Theatre. I’m very much looking forward to The Unfriend, running 8–13 December 2025.

Andy Brown

Regional Councillor NODA West Midlands

© NODA CIO. All rights reserved.