Blackadder II

On Friday 21st March, I was invited to attend the latest play from the Fylde Coast Players — their interpretation of the Ben Elton & Richard Curtis classic, Blackadder II.

Blackadder II plunges us into a delightfully skewed Elizabethan England, where Lord Edmund Blackadder — sardonic, scheming and perpetually put-upon — struggles to stay in the precarious good graces of Queen Elizabeth I. With the disastrously dim Baldrick and the foppish Lord Percy at his side, Blackadder faces a succession of absurd challenges, each more ridiculous than the last.

This stage version draws together several of the series’ most memorable escapades, including the arrival of the swaggering Lord Flashheart and the ill-fated voyage of Sir Walter Raleigh. From courtroom intrigues to hare-brained “cunning plans”, the action barrels along at pace, peppered with whip-smart wordplay, slapstick mishaps and the occasional beheading threat.

It’s a sharply drawn world where ambition meets incompetence, loyalty is questionable, and survival depends entirely on quick thinking — and perhaps a little luck.

In the director’s seat for this production was Connor O’Beirne, who carried out the job with insight, humour and creativity. It was clear that his direction wasn’t going to stray too far from the original TV versions of the episodes combined to create the play, and that felt like the right decision. When audiences come to a play such as Blackadder II, they want to bathe in the familiarity and good humour of the show they love, and to give them anything that diverges significantly from that can be rocky ground. Scenes were consistently well-directed, and the actors had been appropriately drilled in how to successfully bring their characters to life.

Set, props and costumes were uniformly brilliant, as one has come to expect from any production delivered by Fylde Coast Players. As ever, their attention to detail was impeccable and no single element felt out of place. The set was well designed and multi-functional, very much making the most of a generously proportioned stage and giving the actors the environment they needed to explore the multiple narratives within the play. Costumes were sumptuous and gave the impression that no expense had been spared to make these actors feel like the people they were portraying. Every detail had been thought of and each item on the stage had a clear function, combining to create an impressive visual spectacle for the audience.

The performances, then…

In the titular role of Edmund Blackadder, Joe McLafferty was nothing short of a revelation. Having seen and admired previous performances, I wasn’t surprised to see him take on the leading role, but what did surprise me was just how willingly he gave himself over to the dastardly Blackadder, allowing himself to become the man in question. McLafferty slithered around the stage as though he owned it, with no hesitation in cutting other characters down to size in a heartbeat. The interpretation felt very similar to that of Rowan Atkinson, the originator of the role, but rather than grumble that McLafferty didn’t create a wholly new interpretation, I will commend him on giving us a faithful and frankly hilarious performance of a well-loved, classic character.

Baldrick, Blackadder’s faithful manservant and source of endless frustration and chaos, was played by Paul Lomax, who should be in the running for a knighthood based on this performance. A wonderful piece of casting and an actor with an absolutely clear understanding of the assignment. Lomax’s performance was hilarious from first scene to last, and no matter what insanity came from the character, it never tipped into caricature. Pure brilliance.

Phil Allen gave a solid and well-judged performance as Lord Percy, capturing the character’s foppish charm and air of hapless enthusiasm. While his interpretation didn’t aim to dominate the stage, it provided a dependable foil for the sharper personalities around him and contributed neatly to the rhythm of the comedy. A good, consistent performance that served the play well throughout.

Catherine Hughes was a delight as Queenie, balancing the character’s childlike silliness with a delicious streak of menace. Her comic timing was sharp, and she brought an unpredictability to the role that kept both characters and audience on their toes. Hughes added real value to the production, and it was clear from the laughter in the auditorium that her performance was warmly received.

Rosemary Roe was brilliant as Nursie, delivering a performance that was equal parts silly, naughty and irreverent. She embraced the character’s eccentricities with gusto, ensuring every appearance was a comic highlight. There was lots to love about her interpretation, and she brought an infectious sense of fun to the stage.

Chris Sandiford played Lord Melchett with a marvellous mix of snivelling gravitas and boundless energy. His interpretation captured both the character’s obsequiousness and his larger-than-life bluster, making him a consistently entertaining presence. I enjoyed his performance very much, and he threw himself into the role with real commitment.

Tim Cave took on the dual roles of Sir Walter Raleigh and Partridge with confidence, giving each a clear identity and contributing positively to the pace and humour of the production. His performances fitted neatly into the ensemble, supporting the action without ever unbalancing it, and he handled the contrasting characters with ease.

Don Green was just wonderful in his trio of roles — Captain Redbeard Rum, Kate’s Father and Frobisher. His portrayal of Redbeard Rum was a particular highlight of the play for me: utterly hilarious, brimming with character, and performed with complete commitment. Green threw himself into the role with infectious enthusiasm, and the result was comic gold.

Emily Taylor gave good, well-judged performances in the roles of Kate and Bob, bringing clarity to both characters and ensuring they each made their mark. I enjoyed her interpretations, which supported the action effectively and contributed to the overall flow of the production.

Richie Withers was characteristically brilliant as Lord Flashheart, commanding the stage from his explosive entrance onwards. He maintained all the energy and chaos of Rik Mayall’s original interpretation while still making the role distinctly his own. His larger-than-life performance had the audience rolling in the aisles with laughter and was a standout moment in the show.

The remaining roles were all handled with charm and commitment, adding colour and variety to the production. Rich Spilman’s Wisewoman, Andrea Neville’s Dr Leech and Lord Whiteadder, and Poppy Flanagan’s Lady Whiteadder each brought their own distinct flair to the stage, ensuring their moments were memorable and characterful. Mark Albion as Piddle and Pauline Hardie as the Jester injected energy, personality and humour into their appearances, helping to keep the pace and spirit of the show buoyant. What stood out across these performances was the sense of teamwork — each actor understood their place within the wider piece and worked to enhance it, supporting the story and their fellow performers. Every contribution, large or small, played a part in creating the lively, fast-paced world of Blackadder II, and it was clear that the entire company approached the piece with enthusiasm, generosity and a shared sense of fun.

In Blackadder II, Fylde Coast Players delivered a wonderfully entertaining evening of theatre. If I were to nit-pick, I’d say that at times the transitions between scenes took longer than I would have liked, and that the microphone problem at the end of Act 1 was frustrating and slightly distracting — but on balance, I don’t feel these small issues detracted from the overall success of the play.

Huge thanks to Fylde Coast Players for the invitation and hospitality, and I look forward to whatever comes next from them. Well done!

 

© NODA CIO. All rights reserved.