‘Allo ‘Allo’ 2 The Camembert Caper

Attending a sell‑out opening night, there was already a long queue forming well before the doors opened at the Village Hall, with reports that very few tickets remained for the rest of the run. As I took my seat, there was a palpable community buzz of anticipation, as HATS followed up on the success of last year’s production of “Allo’ Allo’”.

Casting 19 roles was an achievement in itself, and this sequel to the original stage adaptation by Jeremy Lloyd and David Croft introduces several featured characters from the 1980s TV series who were absent from the first play — including Monsieur Alphonse, Madame Fanny, and Captain Geering.

As the curtain rose on René Artois’ café, I was immediately struck by the exceptional quality of the set construction and its remarkable attention to detail, especially within such a limited space. The staging featured a bar and serving counter stage left, a rear hallway complete with a step leading up to an “upstairs” area, and two entrances — including a cleverly designed main entrance with an external wall and window proudly displaying the Café René name.

Every detail had been carefully considered: café tables complete with branded menu cards, a well‑stocked bar, French bread on display, and posters adorning the walls. Nothing had been overlooked. The production also displayed some highly imaginative scene transitions, including the transformation into Madame Fanny’s upstairs bedroom, complete with a double bed, and the ominous castle office of Herr Flick.

Further enhancing the performance were the effective use of scenic backdrops to depict locations such as Alphonse’s undertakers, a railway station, and the château occupied by General Von Klinkerhoffen. Combined with good lighting, these elements contributed to the overall atmosphere of the production.

The cast was a real team effort, and you could sense that they all had a wonderful time putting this play together. There was the odd occasion where some of the jokes got lost through rushing the script, and volume of the projection was quiet, but these were few and far between and did not affect the overall enjoyment of the play.

Joshua Cook led the way with a strong performance as René, confidently conveying to the audience the challenges of juggling Nazis, attentive maids, the Gestapo, and two missing English airmen. Julie Barker, as his long-suffering wife Edith, also delivered a good performance, singing in Edith’s distinctive style. Chloe Gleadhill was spot on as Yvette, and, alongside Pam Facey’s uniquely portrayed Mimi, the pair provided humour throughout.

For those in the audience seeking the closest resemblance to the original TV characters, Si Swain as Gruber and Matthew Grapes as Geering were particularly impressive, brilliantly capturing the essence of both roles.

Another strong pairing was that of Herr Flick and Helga, played by Tom Corfield and Marion Jackson. The two worked well together, bringing a good sense of timing and dry humour to all the scenes they were involved in.

I was unsure how Morag Jones could recapture the brilliance of the late, great Kenneth Connor in the role of Monsieur Alphonse, but it proved to be a wonderfully convincing transformation, very well delivered. Annie Swain and Aydan Birkett also gave strong performances as Michelle and Crabtree.

Supported by a solid cast—including Martin Hood, who bravely took on a striptease as Von Klinkerhofffen, Derek Ayley as the hapless Le Clerk, Shelagh Ward as Madame Fanny, Tony Dent as Von Strohm, and Gerry King and Paul Corfield as the two British officers—this was an enjoyable and well-rounded production.

Finally, a special mention must go to Jane Bowden who, in addition to directing, was largely responsible for the impressive set construction. It was a pleasure to speak with her before, during, and after the show—her commitment to the production was clear, and she should feel immensely proud of the result.

Thanks to all at HATS for their hospitality.

 

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