One Man Two Guvnors

This 2011 smash hit was based on the 18th Century play ‘The Servant of Two Masters’ by Carlo Goldoni. It is a fast-paced and hilarious romp, set by Richard Bean in 1963 Brighton. It deals, as the title suggests, with the trials and tribulations of an opportunistic and none too clever fellow who finds himself working for 2 people of dubious background, trying desperately to conceal from each that he has two employers. There is a band on stage throughout, who play some good numbers written by Grant Olding, that entertain us during scene changes.

We were given a fine programme, long and thin, bright orange in colour, with a tremendous photo of our main man as the cover. It was packed full of fascinating information, and great rehearsal photos. There was an interesting piece about the play, a good Director’s Note, and a page about the 40 year-old Pranksters Theatre Company, which included useful dates of some of their 2020 productions.

The stage was split in two, with a raised section at the back. The set was simple, a living room scene at the front, which could be easily removed, and on the rear platform the upstairs corridor of the Cricketers’ Arms, which gave us the doors to the rooms frequented by the poor servant’s two masters. Later some gaily painted railings gave us Brighton Pier. Props included 2 large trunks, a room-service trolley, a cricket bat, an ironing board, a burnt shirt, a strange plant spraying device on a hose, and many more. The simplicity of the set, in my opinion, proves that with a good play and super performers, no elaborate set is necessary, ease of transformation is the key. Lighting was very effective throughout.

First of all, the snazzy red jackets of the band rekindled memories of ‘dances’ and ‘school hops’ of the early 60s. There were snappy suits and waistcoats, and nifty hats for the gangsters, and a John Osbourne-type all-black outfit plus leather jacket for our budding actor, Alan.  Roscoe/Rachel’s oversized suit, and mop-head wig will remain in my memory. Dolly, the secretary, well, those of us around at the time remember well the chignon hairdo, pencil skirt and twinset look, with the Playtex uplift bra! Alfie, the waiter, bless him, was wonderfully made up and wig-adorned, another one that I will remember! Francis our hero was very smart in check tweed waistcoat and jacket, though it had seen better days. And when the three ladies sang, their dresses and wigs were just right, a delight to the eye!

This play is so fast, so action-packed, I would love to have seen it a second time, as I am sure there are aspects I would have loved even more, one would never tire of it. It took courage to put on such a well-known and recent National Theatre success, and Pranksters, who always love a challenge, pulled it off superbly well.

Let me begin with Francis. Paul Weems gave surely the performance of his life, and very much made the part his own, forget Corden, give me Weems every time. On stage throughout, his timing and delivery were perfect. His self-doubt scene, where he argues and fights with himself, and then his several appearances as his alter ego Paddy, sidling onto the stage in tentative Riverdance style, (you had to be there!), brought the house down, and his harmonica playing was rather good too!

I shall mention each main cast member here, as all the characterisation was splendid. Phil Griffith as the East End gangster Charlie Clench, and Dil Peeling as his dodgy, yet amazing solicitor Harry Dangle played well off each other. The transformation of Harry from Tommy Trinder sound-alike, to eloquent and posh courtroom Rumpole was astonishing! Pauline, Charlie’s ditzy daughter, and her would-be actor fiancé Alan, Harry’s son, were finely played by Sophie David and Michael Thonger. An incongruous pair, sparks of various kinds flew, but love prevailed.  Dolly, Charlie’s secretary, oozed that early sixties ‘sex appeal’ of red lipstick, slinky walk, come hither eyes. Samantha Weems shone! Totally the part. Another great performance from the Weems family!

At first, I wondered about the idea of cockney Roscoe (Melissa Pearce) being in love with upper class Stanley (Jon Cotterill). But once we saw them together, she now as Rachel, and transformed into the love-struck girl, he equally besotted, they became perfectly believable, and really rather sweet! He was a suitably dotty upper-class-twit, terribly funny, quite out of P G Wodehouse.

I think the whole audience fell for Alfie, the 86 year-old waiter on his first day in the hotel. So willing to please, so forlorn and vulnerable, yet getting on stoically with his tasks, despite all the batterings and falls he was subjected to. A marvellous performance by Amy Scott, who must have been delighted at the end of the show each evening to finally be able to stand up straight! I wonder if she will pursue her newly acquired (I assume) gymnastic talents!

As well as the band entertaining us so well, really getting the feet tapping, between the scenes, and the Beverley Sisters type song, there were other nice musical touches too. The amusing tap dance sequence with Roscoe and Dolly, for example, and a piece of quiet and thoughtful harmonica playing by Francis, as he considered his precarious situation. Of course, the ‘audience participation’ aspects were hilariously funny, with poor Briony, the final victim, getting soaked.

Director Mark Ashdown is to be congratulated on this rounded, well-paced, and thoroughly entertaining production. The casting was excellent. Great comedy like this, with its need for superb timing and finely-tuned performances, (and no ham acting) must be one of the hardest things to do well. This production was not ‘over-the-top’, it was not ‘underdone’, it was in fact just perfect in every way, and will remain with me for a long time.

 

  

 

 

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