Bugsy Malone

Based on the 1976 film, Bugsy Malone the musical is set in 1920’s New York around the prohibition era.  Dandy Dan's hoodlums are terrorising the district, exterminating undesirables with their splurge guns. His rival is Fat Sam, who runs the Grand Slam Speakeasy, but Fat Sam's gang still use old fashioned pies. Curtain Call’s production of Bugsy Malone was authentic in style, costume, choreography and language.  The show opened to a recorded announcement from the actor playing Bugsy Malone, asking the audience to turn off any (modern) devises they had – setting the scene and letting the audience delve into what life was like in 1920’s New York. 

The set was the first thing that we saw.  It was a nice set and used effectively throughout the show.  I liked the use of the signage to show us where each scene was taking place.  This was developed by having various parts of the set flown in from above.  I particularly liked the boxing scene, complete with a punch bag and ropes.  The whole space was used effectively during this scene – a visual treat.  Personally, I wondered if it could’ve been developed further by having the boxing match on the main stage with four ropes rather than up on the rostrum? 

The lighting was used effectively throughout this piece.  I liked the use of the heart shaped gobo’s and the use of the follow spots.  All lighting cues were sympathetically cue’d in line with the music which is something that I appreciated greatly. 

Most of the costumes were visually stunning.  They were effective in transporting us to 1920’s New York.  I particularly loved the suits, trilby’s and the baseball uniforms.  One particular personal gripe was the length of Tallulah’s dresses.  I felt that they could’ve been shorter to distinguish the difference in her character and that of Blousey.  I also felt that the padding in Fat Sam’s suit could’ve been fitted better to ensure that he was fatter all over, rather than just around the middle.

Throughout the performance there were various issues with the sound.  I don’t know if this was just on the night that I visited or during the whole run but at various points throughout the show people’s mics were not turned on in time and some characters were either not mic’d or were not turned on at all.  This greatly detracted from the story because we missed important dialogue and plot lines.

The props in this piece of theatre were brilliant.  I know that the splurge guns were hired in and cost a lot, but they were used brilliantly, and the story was enhanced through their use.  I wondered if all of the costumes had to be washed each night amid the splurge, custard pies, flour bombs and gooey pandemonium.

Bugsy Malone was directed and choreographed by Joel Montague.  It was clear that a lot of hard work went into this production.  All of the young actors were clear in their direction and the intentions of each scene.  All actors were able to embody the style of the piece with their characterisations, accents, physicality and choreography.  One of my favourite things about this production was the choreography.  Whilst being sympathetic to the era, we were treated to tap routines, sultry dances, and choreographed acting scenes, where every actor knew their intention and played their role effectively.  From the barman serving drinks to the flapper girls; all stayed in role to create a visually brilliant piece of theatre.  The crowd scenes were a highlight.

Malcolm Forbes-Peckham was in charge of the 9-piece orchestra from the pit.  The music was excellent and a joy to listen to.  There were no sound issues at all with the orchestra and it was a pleasure to hear them.  I appreciated that the lighting, orchestra and set changes were synched together; sympathetic to each other.  Malcolm commanded his role effectively.

Bugsy Malone was played by Tom Abisgold.  His accent was flawless, and his stage presence was second to none.  Tom embodied the character of Bugsy Malone to great effect and it was clear to see why he has West End experience.  Well done Tom!

Fat Sam was played by Eddie-Thomlinson-Cliffe.  I enjoyed the energy and commitment that Eddie brought onstage.  The energy of some scenes dipped after the dances numbers, but Eddie did well to bring the energy back on-stage.

Dandy Dan, played by Alex Doyle, was a suitable counterpart to Fat Sam.  He commanded his area of the stage and of his crew and played the role well.

Tallulah was played by Jasmin Mia Robertson.  Her singing voice was lovely, and she embodied the sultry side of the character very well.  I would’ve liked her to have a bit more sass and energy onstage to match that of Fat Sam and distinguish the difference between Tallulah and Blousey.

Emilia Malcolm played the role of Blousey Brown, the up and coming singer who steals the affections of the protagonist.  Emilia was great during the singing and dance routines, however, I felt that her ‘Blousey’ was a little too naturalistic and laid back.  I wanted to see more levels from her character.  I also felt that it was strange casting, having such a tall Blousey against a smaller Bugsy.  This is in no refection to Emilia herself, who performed well; merely a personal observation.

With an entire cast of approx. 90 children it is impossible to mention everyone in the review.  However, a few actors deserve a mention, such as Kyle Edwards (Fizzy) and Reiss Smith (Leroy).  I also particularly liked the actor who played ‘Knuckles’.  I have to take this opportunity to mention two particular favourites of mine: Max Edleston (O’Leary) and Harry Burke (Smolsky).  They brought suitable comedy and slapstick to the piece and it was sad that the lib does not have more scenes with these two characters!  Well done boys!

Overall, I enjoyed this version of Bugsy Malone.  The set and the space were used very well.  I liked that the actors were in the audience from time to time, breaking down the fourth wall.  This piece of theatre was visually very good; from setting to choreography and lighting.  The sound issues and general diction and articulation from the actors detracted from the plot but I have to say that their accents were brilliant and flawless throughout the show. 

I was welcomed to this society with open arms and felt at ease from the outset.  It is clear that there is a lot of passion, drive and commitment to the arts from Curtain Call Productions.  They have had various success’ over the last nine years and have a good vision for going forward.  I applaud them for raising £27,000 towards Cancer Research UK and hope that they continue their success with their upcoming concert ‘Wishes’ and next production ‘Chitty Chitty Bang Bang’.  Thanks once again for your hospitality.  I can’t wait to come back!

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