Wilton’s Music Hall – until Friday 18 August 2023
Reviewed by Phil Brown
3***
All aboard and welcome to the G & S Express – not quite the train ride to comedy heaven the Charles Court Opera aspires to, but a highly amusing divertissement nonetheless and worthy of 75 minutes of your undivided attention. And, whilst the story line is purposefully silly, (possibly considered Pythonesque in another era), full attention and Mastermind grade knowledge is certainly required to pick up all the references to Gilbert & Sullivan operas in the course of the performance. Lack of said knowledge is not a barrier to enjoyment, but it does mean you are not in on the joke a lot of the time, and can’t always fully appreciate the clever-clever exploitation of such operatic treasure. (I am told that G & S Express references every Gilbert & Sullivan operetta, and specifically, ‘The Pirates of Penzance’, (Policeman’s Lot), ‘The Mikado’ (Three Little maids) and ‘H.M.S. Pinafore’ (Little List), as well as the less performed, such as ‘The Sorcerer,’ ‘Princess Ida’ and ‘Utopia Ltd’).
The genesis of G & S Express was during 2020, and like many lockdown projects, what seemed like a wonderful idea at the time, does not necessarily come off completely. The essence of G & S Express is the selective adaptation of Gilbert and Sullivan operas inspired by the work of the Reduced Shakespeare Company. A reasonable proposition at first glance, but one that possibly overlooks some commercial realities – there is a much larger audience for Shakespeare.
G & S Express actually combines Gilbert & Sullivan with another particularly English icon, Agatha Christie to construct a murder mystery spoof, set on a train with Hercule Poirot’s French “twin” Philippe as the lead detective. It’s the sort of thing that you could imagine Alan Bennett’s “History Boys” scholarship form devising or more likely an Oxbridge drama soc. The key difference being in the detail of the invention and the flawless execution – this is very cleverly constructed (Director/Writer John Savournin), well honed, and immaculately performed by players of rare versatility.
The show is well introduced by Musical Director David Eaton who duly disappears to the usual musician’s spot to the right of Wilton’s stage to provide excellent, impeccably timed solo piano accompaniment. Meanwhile the three main players – Matthew Kellett (playing Detective Philippe Poirot), Catrine Kirkman (Bridget, the train “trolly dolly” and various roles) and Matthew Siveter (Reggie, the train conductor and various roles) – proceed to ham it up outrageously and deliciously whilst engaged in solving the mystery of Bridget’s vandalised refreshment trolley – the so-called “doyly cart”. Illustrative of the dialogue is Poirot and Reggie’s miscommunication over “red ‘erring” and the station ”Rederring” – a location which appears in Ruddigore. Talking of “red ‘errings” , three clues left at the scene of the crime lead to three unlikely suspects – a peer, a jester (both played by Matthew Siveter) and a school governess (played by Catrine Kirkman who also plays a police constable). All three performers seriously impress in both acting and singing departments with Kellett delivering a most delightful Poirot – up there with the very best.
Action takes place on a minimally dressed stage – a couple of train windows and a couple of bench seats as seen in trains of a certain vintage – mobile for unobtrusive and rapid set change and to create the impression of train speed. A smart and economical design (Jessie Huckin)
This top quality multi dimensional entertainment is delivered with such evident commitment and skill, it deserves the highest praise and support. Although the audience chortled away throughout, it’s not consistently a laugh out loud kind of show, but it will definitely raise your well being quotient – how much may vary with your depth of knowledge of Gilbert & Sullivan. And it does provide a more genteel musical alternative to the ever growing number of blockbusters on show.