A review of Betty Blue Eyes at the Novello Theatre in London

Sarah Lancashire as Joyce in Betty Blue Eyes. Photo: Roy Tan

Sarah Lancashire as Joyce in Betty Blue Eyes. Photo: Roy Tan


A little bit of austerity joy has sprung up at the Novello Theatre where Cameron Mackintosh’s latest West End venture, Betty Blue Eyes, based on Malcolm Mowbray’s 1984 film A Private Function, has started a squealingly good run.

Set in a small Yorkshire town just after the Second World War, when austerity and food rationing is starting to bite hard, a group of local dignitaries plan to raise and slaughter an illegal pig for an exclusive, private function to celebrate the impending wedding of Princess Elizabeth to Phillip.

Alongside this runs the story of timid chiropodist Gilbert (Reece Shearsmith) and his social-climbing wife Joyce (Sarah Lancashire), who are thwarted in their efforts to get a foothold on the town’s social ladder and decide to steal the pig as an act of revenge (and hunger!).

Given the peculiarly British subject matter and source material, Mackintosh has clearly taken a gamble in hiring US screenwriters Ron Cowen and Daniel Lipman to pen the book of the show, particularly as it’s their first musical. However, having a bit of distance from a subject is not a bad thing and they’ve written some pacey, witty dialogue that captures the spirit of the times without paying undue reverence to the movie.

But it’s the musical numbers by George Stiles and Anthony Drewe that go much further than the book in rounding out the themes of the show, without ever losing sight of the “let’s have fun” element which is writ large throughout this production.

Betty Blue Eyes is the most tuneful, humorous and inventive original score we’ve heard in the West End for some time, with a number of songs guaranteed to be around forever. Cameron Mackintosh has championed Stiles & Drewe for decades and they have enjoyed notable success but never a big West End production to truly call their own. Mackintosh had to step up to the plate at some point, and he’s done so with a show that will, finally, put this writing duo firmly on the international map of Class A theatre composers.

There is also no doubt that Alan Bennett’s screenplay for A Private Function, written with the movie’s director Malcolm Mowbray, is a major factor in the night’s success. Whilst the film was a little too depressing to be jolly good farce and too much like comedy to be a decent observation of post-war Britain, it was carried by Bennett’s beautifully observed characters – and the performances of Maggie Smith, Michael Palin, Denholm Elliot et al.

Much of the success of Richard Eyre’s production is based on the same factors. An animatronics pig may be the title lead of Betty Blue Eyes (given the rumoured expense of the pig, it was strangely unanimated, with stellar facial gestures but nothing that a good Jim Henson puppet couldn’t have achieved), but the real leads act Betty off the stage.

Sarah Lancashire in the role of Joyce Chivers is as close to a musical theatre revelation as you are likely to get, and plays her like she has been at the epicentre of musical theatre life in Britain for the last thirty years. There’s no question that the song of the night is “Nobody”, which she delivers with a fierce gusto that will be sung back to Cameron Mackintosh by thousands of auditioning gals for decades to come.

Lancashire plays Joyce much warmer than Maggie Smith, which in some ways highlights the tonal difference between the show and the film. Anyone who can play a sexy, house-proud Northern matriarch whilst singing big, show-stopping numbers, all the while adding an emotional heart, a dry wit and a beautifully composed showbiz smile, gets my vote!

Reece Shearsmith in Betty Blue Eyes. Photo: Roy Tan

Reece Shearsmith in Betty Blue Eyes. Photo: Roy Tan

The League of Gentlemen’s Reece Shearsmith puts in a surprisingly emotive and convincing performance as Gilbert, presumably honed from years of playing it straight in macabre (or farcical) surrounds, and whilst he is not an obvious song and dance man, he makes Gilbert his own.

Adrian Scarborough doesn’t have a lot of room for manoeuvre with Wormwold, the government food inspector who, in true ‘Allo ‘Allo! style, is not only dressed as the Gestapo, but continually referred to as the Gestapo, taking the show more in the direction of Panto through no fault of his own. His big number, Painting By Heart, which reveals his passion for his work – and the painting of illegal meat to render it inedible – seems to come too early, and we need to see more of his evil ways before he can lighten up and show us his passionate side.

Also, painting Wormwold as the evil villain takes some of the meanness away from the town’s elite, reinforced by turning Allardyce (a lovely performance by Jack Edwards) into a warm and cuddly “pigophile” and Dr Swayby, played by David Bamber, as a rather one-dimensional bigot (his anti-Semitic remarks may have been historically accurate, but don’t fit well in a show that presents itself as nothing less than a joyous romp through the post-war years). All of this slightly undermines what’s at the story’s heart: that British class meant that not everyone was living in austere times.

Richard Eyre has put together a fine, National Theatre-quality supporting cast, notably Ann Emery as Mother Dear. It could have just have been me, but there felt like a subtle nod to Les Miserables in a number of scenes, perhaps some light Cameron Mackintosh ribbing by the creative team, with barricades stormed by headscarf-clad matriarchs through Stephen Mear’s quirky and inventive choreography.

Design by Tim Hatley ensures that the show keeps momentum, beautifully set against a cartoon-like blue sky and green hills.

For Mackintosh, Betty Blue Eyes must feel like a small, austerity production. The Novello is not quite a tiny, converted chocolate factory in South London, but for a producer more used to enormous productions that go global, Betty Blue Eyes must feel small-scale. However, Mackintosh is a canny producer, not only for capitalising on our current austerity and impending Royal wedding, but in creating a show that can tour to any sized venue in Britain, filling gaps in Arts funding-cut theatres nationwide, and a production that can be played out in village halls for the next fifty years.



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