The Beautiful Game

With music by Andrew Lloyd Webber and book/ lyrics by Ben Elton The Beautiful Game premiered to mixed reviews at the
Cambridge Theatre, London in September 2000 although Lloyd Webber’s score was largely praised. It never made it to Broadway.
After only a week’s rehearsal this young cast brought the show to the stage with a simple set of artificial grass and a backdrop of a
graffitied wall. Minimal props such as benches, rear car-seat and a bed were carried on. The latter was a disappointing mattress on a
flat wooden base – surely a basic bed would have been possible for a hotel room. Costumes for the football strip and Priest’s
vestments came from Fusion Youth theatre, who were first to perform this show in its local setting in 2012. Lighting was good, adding
mood where needed – blinders created excellent black-outs although from where we were sitting they were sometimes too much!
Sound was refreshingly subdued -not over amplified as often occurs – and I heard every word.

The show opened with the team of young footballers posing for “The Boys in the Photograph” taken by their coach ,Father O’Donnell.
Played by Shane Johnson, who was the only adult in the production, the Priest knew plenty about the world of his junior team. The
main protagonists were John Kelly and Mary McGuire played by John Cathcart and Juliette Pierce. John Kelly is apparently
professional football material although initially seems to prefer to show off to the local girls. Cathcart, whose opening number was ‘I
don’t like you”, showed his changing attitude to Mary and as the plot progressed he married her while still ambitious in his football
aspirations. He disagreed with his best friend’s political leanings but was still willing to leave his wedding night to help him. When
sent to prison Cathcart convincingly showed Kelly’s descent into darkness and distancing from his wife. The role of Mary was shared
between Rachel Kerr and Juliette Pierce who I saw on the night I attended. Juliette had beautifully clear and unforced vocals. She was
gentle in her character portrayal but showed she could be forthright in her efforts to promote civil rights. Later, she was defeated and
worn out with a new baby and husband in prison. Molly Houlahan (who shared the role with Shannon Bradley on different nights)
added much needed lightness and comedy to the piece. She overflowed with energetic joy every time she appeared – I love the scene
when she and Del emerged after a raid, from a romantic episode in an abandoned car! Her attraction to Del (Patrick Glover) was quite
surprising as he seemed a quieter steady boy. Del was an atheist from a Protestant background and had been warned off his place on
the Catholic football team. Patrick fulfilled this role convincingly and “Let us Love in Peace” with Molly was suitably moving when
they were emigrating to America.

Sharing the role of Bernadette with Caoimhe Ryan was Clodagh Sweeney. She did not have much chance to establish a character
before her romantic encounter with Ginger (Shane Ferris) and his subsequent death but impressed in her devastation at that event.
Shane was a sweet natured lad who accepted that he was not the best footballer – or lover! He was very likeable in his part and settled
well in this character. James Marsden played Daniel – a wide boy who was using the unrest to steal car radios. James was believable
as he cheerfully became involved in drug dealing and entering into the criminal sectarian underworld. His knee-capping was left to the
imagination as the sound came from off stage. Harrison Gordon was Thomas – an ardent Irish Catholic Republican. He abandoned the
innocence of football to become a hardened political IRA member. Harrison always looked threatening and his song “I’d rather die on
my feet than live on my knees” was unsettling and poignant. The small Ensemble were frequently involved in the action as they
became footballers, supporters and party goers. They were totally engrossed in movement and song whenever on stage, while some
played small roles such as dueting with Mary as a Protestant and a Catholic in “God’s Own Country”.

The 5 piece band (housed somewhere backstage!) under the baton of Adam Darcy were well controlled in Lloyd Webber’s score of
catchy melodies, beautiful ballads and anthems which all complement the story. A monitor at the back of the auditorium enabled
Darcy to lead his well-trained singers on stage. As overall Director, Dean Johnson captured the energy of the football games and
managed to show the contrast between serious political scenes and social/football events. He handled the sensitive subject matter very
well while bringing out the comedy and allowing us to laugh at the local idioms.

This is a musical which combines football, religion and politics which brought N.Ireland to violence in the 1960s. It’s a story which
has heartbreak and humour and strikes a chord in every local audience, and I was glad to see it again. My thanks for the invitation and
to all who were involved in any way.

Sheelagh Hobart

© NODA CIO. All rights reserved.