Bugsy Malone

Todmorden Hippodrome Youth Theatre kindly invited me to review their production of ‘Bugsy Malone. Jr.’ a musical comedy by Alan Parker. This musical is a wonderful pastiche of old Hollywood ‘Gangster’ films, complete with mobsters, the gangster's moll and of course, gunfights. Told from the perspective of all round good guy, Bugsy Malone, the story is set in New York in 1929, where rivalry between two gangsters, Fat Sam, and Dandy Dan rages. Fat Sam runs his successful Grand Slam Speakeasy, but when Dandy Dan and his men obliterate Sam’s gang, Sam calls in Bugsy Malone to settle matters.

This musical had an energy that was impressive throughout. Artistic Director, Martin Cook, created a lively, feel-good show with plenty of the required slapstick that made the audience laugh aloud. His cast were well rehearsed, confident, and clear. Time spent on nurturing accents, resulted in some memorable performances. The comedy timing was great; I thought the interactions between Fat Sam and his goons, were particularly slick. It can be notoriously difficult to play scenes where multiple characters only say the odd line or phrase, Martin had honed his cast so that the conversations flowed naturally, this added to the comedy as responses were prompt. The ensemble remained animated throughout, fully invested in their individual characters. I particularly liked the reactions to the Splurge Guns, the Splurge covered bodies dropping to the floor, impressively unmoving once felled. There were many wonderful scenes within the show, with cast and crew pulling together, to create a lively, humorous production. The audience laughed aloud as a full-sized cardboard replica of Dandy Dan appeared in Sam’s office at one point, every scene with Smolsky and O’Dreary was full of slapstick comedy, and very entertaining. The Set Design by Martin and Steve Clarkson was notable. Across the back of the stage was a rise, with steps leading up, symbolising a rear entrance to the Grand Slam, I thought this worked well, and it allowed room for trucks to move in and out. Built by David Winslow and team, we saw a barber's shop interior, the bar at Fat Sam’s, a dancing area for the show girls and Fat Sam’s office to name a few. This was a smooth production, big scene changes occurring during short blackouts. Stage Manager Andy Thomas and his crew worked swiftly and quietly, cleanup after the many Splurge scenes was surprisingly quick.

There are some iconic songs within this show, and Musical Director, Helen Clarkson brought the best out of her singers. Ensemble numbers were strong, the harmonies throughout sounded great. The orchestra was well rehearsed and kept a nice pace with the soloists, not once overpowering the vocals. I liked the boxing club scene; the singing was great for such an energetic dance routine. The three Speakeasy singers sounded particularly harmonious as the sang their opening number ‘Bugsy Malone,’ smiling radiantly as they performed. The ensemble numbers: ‘Fat Sam’s Grand Slam’ and ‘Give A Little Love’ were lively, and vibrant. Choreography by Alexandra Townend and Lisa Parker was energetic, the boxing scene, as previously mentioned was great. The dancers all synchronised and fully committed to the routine. I particularly enjoyed the soup kitchen scene; the artful use of spoons added an extra dimension to the number. Lighting and Sound, provided by Sound and Light Uk was splendid. Spotlights on individual were tight, I liked the use of gels throughout the show, reds highlighted the ‘stage’ where auditions took place at the Speakeasy, greens picked out the forest cloth, dropped during a chase scene with Smolsky and O’Dreary. The lighting was atmospheric according to the action. Sound effects were prompt, and the incidental jazz music playing over scene changes was a nice touch. Microphones were clear with no feed back or dropouts. Attention to tiny details was great, Properties by Nina Hatfield and team did a fantastic job. Props were of the era, with realistic looking drinks at the Speakeasy, working Splurge guns and that fabulous cut out of Dandy Dan adorning the stage amongst many other items. Guns were strategically placed for the soup kitchen scene, ensuring each actor had their props ready and waiting. Well done all.

The main protagonist and narrator of the production, Bugsy Malone, was played by James Shepherd. James was confident and clear, his New York accent impressive. From the moment he stepped on to the stage, James’ characterisation was strong. He had a great recall, with faultless dialogue. I did enjoy his interaction with the other actors, his soft, awkward, side as he grew closer to Blousey, his happy go lucky approach to the chaos erupting around him when with Fat Sam. His solo performance in the song ‘Down and Out’ highlighted a great singing voice, his vocals were clear, his overall performance was noteworthy. Lucy Wheadon played love interest to Bugsy, and aspiring actor: Blousey Brown. Lucy gave a smashing performance. Starting as a shy auditionee, trying for a spot at Fat Sam’s Speakeasy, Blousey gains confidence as the show progresses. Lucy’s dialogue, diction, and accent, were impressive. Her solo: ‘Ordinary Fool’ was emotive, with fabulously clear notes. Her acappella of ‘Bugsy Malone’ was lovely.

Fat Sam, played by Samuel Rawlinson, made the audience laugh aloud whenever he was on. He was the epitome of an old Hollywood gangster, fast talking and brash. I thought his interaction with Charlie Rupp, who played an excellent knuckle cracking; Knuckles, was jolly funny. Fat Sam’s response to Knuckles becoming the victim of a backfiring Splurge Gun was hilarious, Knuckles unceremoniously dragged of the stage as Sam lamented, just excellent.

In contrast to the fast-talking Sam was Dandy Dan. Dan was smooth, unruffled, and out for Sam’s empire. He knew he held all the power as he mowed down Sam’s gang with the new Splurge guns. Oliver Quantrill-Scott played Dandy Dan with confidence, his characterisation as the unflappable, arrogant Dan was first rate.

Frida Saville-Leach played Tallulah. Girlfriend of Sam and singing sensation at the Speakeasy. Frida played the feisty, glamorous, gangsters moll with aplomb, her poise oozed confidence. Her performance of ‘My Name is Tallulah,’ was alluring, her attitude one of nonchalance. Well done.

Fizzy, caretaker of the Speakeasy, was played by Isla Cook. Poor Fizzy was always trying to audition for Fat Sam, but was constantly told ‘tomorrow’ by Sam. Isla was great as the quiet, unassuming caretaker. Her solo ‘Tomorrow,’ with the accompanying choreography, a slow tap dance, was simply charming. Wisps of smoke surrounded her as she moved. Her vocals were strong and melancholic, and I particularly liked the inclusion of the broom employed within the tap routine.

Arthur Bentley-Thomas was very funny as Leroy: a mild-mannered passer by who helps Bugsy when he is attacked in an alleyway. Bugsy realises Leroy has the potential to be a boxer so takes him to see Cagey Joe, a boxing gym owner. Arthur made the audience laugh aloud as he replied ‘Nope’ to whatever he was asked anything.

Playing Cagey Joe was Caleb Crisp. I really enjoyed this whole scene, the boxers dancing in formation as Caleb sang ‘So You Wanna Be a Boxer.’ Caleb was great in this role; his vocals were strong and his comedy timing precise.

The pairing of Freddie Sayer as Smolsky, and Sophia Allsopp as O’Dreary, was hilarious. Freddy played Smolsky as a hapless, clumsy Detective, falling over constantly, and bossing his colleague around. His accent was good, his comedic timing great. Sophia, as O’Dreary, the useless uniformed police officer assigned to Smolsky, had an Irish accent that was impressive. Her use of physical comedy as Smolsky pushed her around was great, her tumble down the stairs rehearsed well. This comedy duo made the audience laugh whenever they were on the stage.

There were many named characters within both Fat Sam’s and Dandy Dan’s gangs. Unfortunately, too many for me to mention individually. Each actor gave great performances, collectively adding to the humour played out on stage. Well done all involved. The Speakeasy dancers worked hard and looked fabulous in their green costumes. The use of fans during Tallulah’s song was a nice touch, the energy and synchronicity they employed throughout all dance routines was fabulous to watch. The wardrobe, by Jo Howard and team looked authentic, mobsters wore suits and fedoras, with the Speakeasy dancing girls in green ‘flapper’ dresses that sparkled in the lights. The ‘Down and Outs’ were suitably shabby, for me, the costumes were exactly right.

This was a slick, fast moving production with lots of humour, custard pies and Splurge guns. Todmorden Hippodrome Youth Theatre put on a throughly entertaining performance, with a strong cast and memorable songs. I would like to extend my thanks to the whole society for inviting me to review their show, with a special thank you to David Winslow for looking after me and my plus one. I look forward to many more shows from THYT in the future.

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