“ABBA have got me through so much. I listen to them when I’m on top of the world; I listen to them when I’m at my lowest ebb.” So says Peter, the central character on this comedy-drama about two males’s love of the Swedish super-group, and you’ll inform it’s a sentiment shared by Ian Hallard, the present’s creator who additionally performs Peter. Me too: I can’t think about a world with out ABBA, their music has enriched my life immeasurably. So I’m very a lot this play’s audience – however is a typical ardour all that’s wanted to purchase…
Rating
Good
Retro comedy rides on the wave of a cultural phenomenon.
“ABBA have got me through so much. I listen to them when I’m on top of the world; I listen to them when I’m at my lowest ebb.” So says Peter, the central character on this comedy-drama about two males’s love of the Swedish super-group, and you’ll inform it’s a sentiment shared by Ian Hallard, the present’s creator who additionally performs Peter. Me too: I can’t think about a world with out ABBA, their music has enriched my life immeasurably. So I’m very a lot this play’s audience – however is a typical ardour all that’s wanted to purchase into the story?
Said story considerations Peter (Brummie, camp) and Edward (posh, ultra-camp, James Bradshaw), middle-aged ex-schoolfriends who’ve been reunited by Grindr and theatrical contrivance. Peter is ostensibly bisexual however not but out to his beloved Nan (a pre-recorded Miriam Marggolyes),whereas Edward is civilly partnered to the unseen Melvin. Neither are considering one another sexually, however their important childhood friendship – primarily based on ABBA and otherness – is revived.
Despite traumatic recollections of singing ABBA collectively at a disastrous college live performance, Peter and Edward fall right into a plan to carry out a gender-flipped drag ABBA tribute act with ditzy younger actress Jodie (Rose Shalloo) and native pianist Mrs Hermione Campbell (Sara Crowe) taking part in Benny and Bjorn to their Agnetha and Frida.
The present is enjoyable in a really broad-brush kind of approach: a plucky Brit-flick story of little individuals making an attempt to understand a dream, shot via with an old style slug of 70s sitcom. There is a smattering of genuinely humorous traces, and the entire is propelled by a palpable sense of affection of the subject material.
How you’re feeling about camp could decide the way you react to The Way Old Friend’s Do. Hallard and his director/husband Mark Gatiss grew up in an age when homosexual males had been largely invisible in widespread tradition. They had been solely tolerated within the laughable type of entertainers similar to Larry Grayson and John Inman: limp-wristed figures of ridicule. It was a darkish time for queer illustration, so why a up to date play ought to current us with a personality like Edward – a bitchy queen who even Alan Carr would most likely advise to take it down a notch – is a thriller. The straight buddy who accompanied me to the play was infuriated by the character: his homosexual uncle had been a navy man with not a camp bone in his physique, and such shallow, vulgar stereotyping makes him very indignant.
Many within the viewers, I’d say about half, discovered him very humorous. Elsewhere within the forged, Hallard is a stable, realizing presence as Peter, Shallo is ok as simpleton Jodie, as is Donna Berlin within the underwritten function of lesbian stage supervisor Sally. The standout efficiency for me was Crowe’s Mrs Campbell hardly an authentic character, however this candy Scottish girl with a naively up-for-it perspective is judged to perfection, bringing lovable notes of June Whitfield to a pleasant masterclass in comedian appearing.
The first half ends simply earlier than the act go on stage for the primary time, with an admirably modern little bit of lighting because the contrasting wigs of the Agnetha and Frida are iconically singled out in particular person spotlights. Part two begins within the quick aftermath of the profitable present, introducing us to scorching younger photographer Christian (Andrew Horton) – a fellow ABBA devotee who persuades the group to proceed. Despite his smoothie come-ons, Christian finally ends up throwing a number of spanners into the works, however when the play tries to cope with real psychological truths its writing and paper-thin dramatis personae can’t assist the burden of the tried realism, and the efforts to mine real emotion ring hole.
But for all of the play’s flaws, I discovered myself in tears on the finish. In a sudden and sudden shift of tone, Peter and Edward share a splendidly tender second as collectively they gently sing the opening traces from the music that provides the present its title: “You and I can share the silence, finding comfort together, the way old friends do. And after fights and words of violence, we make up with each other, the way old friends do…” I discovered myself transported by the wistful melody and hopeful phrases, and I finished caring in regards to the camp nonsense and feeble characterisation of the earlier two hours to easily take pleasure in a second of magnificence. That’s the genius and magic of ABBA. The present ends with yet another swivel of the spectacular stage revolve and all of the characters in ABBA costume for a contented clappy curtain name. Horton’s efficiency as dangerous boy Christian earns him pantomime “Boo!”s, which he smilingly shrugs off. I anticipate the present’s creators will bat away critics of the manufacturing with equally assured resilience.
Written by: Ian Hallard
Directed by: Mark Gatiss
Produced by: A Birmingham Rep manufacturing offered by James Seabright in affiliation with Jason Haigh-Ellery and Park Theatre
The Way Old Friends Do performs at Park Theatre till 15 April. Further data and bookings will be discovered right here.