The Ladykillers

The Ladykillers, written by Graham Linehan (of “Father Ted” fame), and based on the 1955 Ealing Comedy of the same name, had its stage debut in Liverpool in 2011. It features a gang of thieves who pose as musicians and inveigle a sweet old lady into their plot to steal a large sum of money. They soon turn on each other, leaving the old lady with the proceeds of the crime. It’s a clever script which calls for a complex set, but with experienced director Lesley Preedy at the helm and the skills of the SADS backstage crew to call on, we are in safe hands.

The period atmosphere was conjured up from my arrival, with a warm welcome from the Front of House ladies, all beautifully attired in 1950s’ outfits and ushering us to our seats with torches. The box set on three levels was also stunning, depicting Mrs Wilberforce’s house, with an upstairs room and, separately, on the floor of the theatre, the roof of the house; a most effective way to fit this in. Every aspect of the set, the peeling wallpaper, the carpet, the tired furniture, the taps with running water and the smoking chimneys showed great attention to detail. My favourite was the two working semaphore signals that were cleverly used to show the passing of the trains. A huge “well done” to the set design and construction team and the people who sourced all the props! Costumes too all looked right for the period and the lighting cleverly highlighted the area of the house where the action was taking place; good sound effects completed the picture.

Jane Foster was an ideal Mrs Wilberforce, delightfully dotty, doting on her hideous parrot, but not so naïve that you couldn’t believe that she’d realise what was happening in the end. Mike Clay was a very credible Professor Marcus, nicely vague with Mrs Wilberforce but always on the ball with the members of the gang, keeping the plan moving. The running gag of Mrs Wilberforce standing on the Professor’s scarf was nicely handled, but I felt the tilting picture gag was used a little too often.

Roy Phillips was every inch the retired army Colonel, upright and correct, while Mike Edwards made One Round easily led rather than exceedingly dim – a nice touch. Roger Minors looked and sounded the archetypal evil Romanian gangster (with a wonderful scar), until we discover he’s afraid of old ladies! Ben Pharoah was a nicely jittery, pill-popping Harry Robinson, with his constant need to clean things well maintained. The cast had great support from Richard Searle as Constable MacDonald and the gaggle of ladies who come for the concert – one of whom looked suspiciously masculine! Good use was made of the roof of the house, and the well-choreographed and executed fight scene (directed by Caroline Powell) also impressed me.

Along with the near-capacity first night audience, I thoroughly enjoyed the performance. It is a very inspired and affectionate adaptation of the original classic Ealing comedy which ventures into farce, where timing is crucial and my only minor proviso was that I felt it could have done with a little more pace to bring out the best of the comedy. Knowing this group, I’m sure this will come as the run progresses.

Well done to everyone involved!

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