Bugsy Malone Review

One of the best ways to judge how a society is doing is to see how they are going about seeding the next generation to ensure continuity. Judging by this production, Bedford Marianettes have a pretty secure future, having attracted a high-quality group of youngsters from across the area, many of whom I have seen performing in the local schools. And what a delightful treat they gave us of the late great Alan Parker’s masterpiece!

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Narrated by Bugsy himself, the plot is set in the gangster era in America and centres around Fat Sam’s Grand Slam Speakeasy, where two rival gangs vie for control headed up by rivals Fat Sam and Dandy Dan. Meanwhile, Bugsy sets out to help a budding singer, Blousey Brown and assist her to get tickets to Hollywood and advance her singing career, which drags Bugsy deeper into the gangster world. And of course, it wouldn’t be Bugsy Malone without the famous splurge guns.

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The set in the experienced hands of Steve Ward was dark navy-blue flats making up the back wall, decorated in an art deco style patterns with a bookcase which cleverly turned out to be the door into the Speakeasy.  The band was positioned, or more accurately shoehorned into a “coned” off area, stage left. Stage right was a dressing room area complete with frame depicting a mirror. To distinguish front of curtain scenes a gauze curtain was used to great effect. Furniture consisted of a bar upstage right and a table and chairs upstage left. Entrances and exits to wings or from the front stage left of the auditorium seating.

Sound by Simon Barker was very well balanced, although I do have a pet hate of underscoring dialogue, as I often struggled to make it out, but that said Marianettes have now well and truly mastered the Trinity Arts Theatre sound desk. Lighting by the director Charlie Hammond-Smith and Lloyd Grey was particularly well done especially with the use of spot lighting which was used to great effect although occasionally it did have to hunt for the intended actor.

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Costumes were sourced from Ariel Costume and Prop hire and deserve a particular mention, all perfectly in period and well-tailored to fit/ or deliberately not fit their young wearers. A great display of twenties American Chicago fashion. The splurge guns did to my mind looked a little odd, but certainly came with plenty of ammunition as the final shoot out amply demonstrated.

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It was obvious that a lot of hard work had gone into the Choreography by the multi-talented Leanne Lyndsey White, with some incredible flapper style routines from both the entire cast, but particularly with the numbers performed by featured dancers Eleanor Kerin, Ava Grant, Sophie Endersby, Megan Findlay, and Elsa Garvi-Gorringe. Great to watch. Well done one and all!

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The excellent musical direction was a joint effort between Carol Ward and Bex Badham with the band being conducted by Leigh Smith and consisting of Carol Ward (Keys), Chris and Sue Pettit (Reed), Chas Hutchings (Trumpet), Liz Schofield (Trombone), Danny Barton (Guitar), Rob Parker (Bass Guitar) and Dan Phillips (Drums).  As I have come to expect of local bands these days, a thoroughly professional job done by one and all that would grace any theatre in the land.

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Joseph Tyrrell as Bugsy was absolutely top draw for this role. His confidence, delivery, facial expressions, singing voice and general command of stage craft belied his age. Very much one to watch for the future. His monologues to the audience, often delivered whilst engaged in complicated business were a lesson for any aspiring actor. He even paused to reset a fallen flower vase on the bookcase before opening the hidden door. Now, that is confidence and control. A star in the making if ever I saw one.

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Daisy Loft as Blousey Brown and Evie Atkins as Tallulah gave us wonderfully contrasting perspectives of their characters confidence. Blousey as the aspiring singer but lacking the confidence and breaks to secure a solid career and Tallulah, who knows she has got it and is not afraid to flaunt it. Both with excellent voices to go with their characters.

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Josh Merrill was suitable scary as gang leader as Fat Sam, in the way he treated his gang of hoodlums, with a lot of comic touches thrown in. And his smashing little gang of Spencer Hunter (Knuckles), Jessica Bottone (Louis), Isla-Rose Allen (Ritzy) who also played Lena Morelli and gave us a great rendition of ‘Showbusiness , Kenzie Fraser (Leroy) whose right hook turns out to be second to none, Maile Cahill (Cagey Joe), boxing coach and recipient of said right hook, Liam Wilson (Angelo) and Alex Kerin (Snake Eyes) certainly kept the smile on my face.

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Ruby Briggs gave us the rival gang leader Dany Dan who was quite an expert with a splurge gun. Other notable parts include Rohan Regmi as the put upon Fizzy, Annabelle Wood (Yonkers) lieutenant to Dandy Dan and not forgetting the brilliantly over the top bumbling detectives Annabel Goodbody and Nathan Hargreaves as Cpt. Smolsky whose use of a magnifying glass was second to none and her equally dim-witted sidekick O’Dreary. Great comic stuff.

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Also well done to Caitin Wilson (Doodle/Baby Face), Primrose Wilson (Laughing Boy), Olive Nasir (Shoulders), Liliana Sepede (Bronx Charlie), Thalia Cahill-Ritter (Benny Lee) and Mauricio Cahill Ritter (Roxy Robinson)

Charlie Hammond-Smith’s direction gave us a very well drilled, enthusiastic cast resulting in a fast-paced show, with some neat tricks such as Fizzy mopping up after the splurge gun fight whilst singing Tomorrow. All of which left me smiling long after the final curtain. Well done one and all.