THE BEAUTIFUL GAME

Andrew Lloyd-Webber and Ben Elton’s musical – The Beautiful Game – opened in September 2000 in London’s West End but received a mixed reception and only ran for 11 months, never making it to Broadway. A re-write with the new title of “The Boys in the Photograph” and more uplifting ending was presented in Canada in 2009 and then, in 2012, Fusion brought it to its natural home for the Irish Premiere, with the blessing of Lloyd Webber and Elton themselves. Now we are back to the original title with few changes from Boys in the Photograph. Set in the 60s/70s at the beginning of the ‘troubles’, the show centres on members of a Belfast local football team and how they cope with the violence which engulfed their community.

Tierna McNally captured the character of ‘naughty girl’ Christine Warner in hilarious manner and her romance with Del Copeland (Rory Jeffers) who, as a protestant was warned off the football team, was credible and well executed. Comedy also came from Ethan Haddock as Daniel Gillen – he played the ‘wide boy’ with appealing energy. When he was knee-capped the distress of the audience was palpable. Anna-Lee Corbitt played Bernadette,

whose short-lived romance with Ian Simpson as Ginger, was conducted with sensitivity. When Ginger was murdered it was quite shocking and Anna-Lee responded in an entirely characteristic manner. The funeral was very moving and the grave, created by opening an extra piece of the orchestra pit, was most effective. (The grave was covered in and a headstone erected by the time the interval ended, which was impressive.) Adam Williamson took the role of Thomas Malloy – carefree footballer turned IRA man. Adam was assured and confident as the ambiguous character, drawn into violence and becoming an informer to escape prison himself. Star team player, John Kelly, was played by Michael Drake with Lucy Donnelly as Mary McGuire. They made a convincing couple  in both emotional and comedic scenes. “Don’t like you” was well handled as was their awkwardness on their wedding night, which was absolutely convincing. (Yes – it was like that back in the sixties!!) Both had good voices and blended well together; Lucy’s was especially sweet when singing unaccompanied.

The boys and girls of the chorus involved themselves fully in the action as football supporters, baying crowd, partygoers, mourners etc. A number of adults appeared in cameo non-speaking roles  which leant authenticity to the piece. The whole cast embraced the exaggerated Belfast accents even when singing. All vocals were robust and MD Ian’s 7 piece orchestra balanced with the stage. He employed the talents of a small marching flute band and some ‘orangemen’ who ended up in the midst of a stand off with the Catholics across a barricade. The latter was the only special piece of set – the rest being simple tabs with rostra at the back and truck stage right for kitchen and hotel bedroom scenes. Locker room and sitting room were insets front stage right and left. Good projections of Belfast in the era were shown on a centre back screen but generally the background was all a bit too black, making lighting difficult. Props and Costumes were mostly authentic – probably sourced by the cast themselves.

Ian and Jillian combined seamlessly to direct and choreograph a tight show in which the young actors displayed very mature emotions and skills. It certainly took me back to the years of “the troubles” in a most creative way and invoked laughter and tears. My sincere thanks to everyone who contributed to the production.

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