Andrew McConnell Stott’s wonderful book The Pantomime Life of Joseph Grimaldi, the laughter, madness and story of Britain’s Greatest Comedian was published in 2009 and was always ripe for adaption for the stage or screen. Anyone with an interest in social history at the turn of the 19th century, a love of Pantomime or who could be drawn in by the story of a tragic personal life contrasting with a glorious public persona would be attracted to this tale.
Grimaldi’s life is brilliantly spelt out in well-researched book over three Acts; firstly, a Clown is born (1778-1800), secondly the Golden era (1800- 1820) and thirdly a tragic life and decline (1820-1837) with his benefit performance in June 1828 and death in May 1837. The challenge is how to tell this story on the stage, to recreate the performances that earned him the title of Greatest Comedian and contrast them effectively with his personal life tragedies and failing health. Hundred Acre’s production at the Kenneth More Theatre in Redbridge East London is the world premiere of this stage adaption of the book by the author. He adopts a linear storytelling approach through his life from young child to his benefit performance with much exposition from the characters on the background and context and at times this feels laboured and inhibits the character development. We never really get a sense of what made him so successful, or the toll his performances from a young age took on his body, and the laughs are few and far between.
There is however an encouraging new score by Daniel Curtis and Laura Coyne which gives the story a Phantom of the Opera aura and shows great potential. New musicals take a lot of time in development and this production has the feel of a workshop performance of work in progress to gather reactions and spur development. The Producers might take heart from Back to the Future which opens soon but started development as a stage show in 2005. Their score is, in my view, better than the new songs in that production and given the same staging, treatment could be developed into a wonderful celebration of his life.Viewing a live stream may also have inhibited the enjoyment of the production with the long shot from the back of the auditorium filling at least a third of the screen with black, limited alternative camera angles and some sound problems. But if you are workshopping a show a limited stream at least widens the access and garners feedback to drive development. They added limited production value to the stream with a weak start and no cast credits at the end suggesting that the stream was an afterthought and the capture was for internal purposes.
The large cast filled the empty stage with no set dressing, just a raised platform at the back and used actor-musicians to support the singers and more importantly gave stage debuts to a large number of London drama school graduates. There were a number of stand out performances from the leading characters. Mike Sterling played The Signor, Joey’s bullying theatrical father who dies in 1788 and returns as a ghost haunting his later life. He has a fine voice especially as Grimaldi junior wins his duel for fame with Dubois in the song 'Live in my shadow'. JS Grimaldi in his adult life was played by Jack Giblen with his tragic first wife Maria played by Tina Jupp and his second wife Mary by Samantha Ivey. They capture the relationships well and I enjoyed their duets 'As long as you’ll be mine', 'Truth in Love', 'Eternity' and 'Another story'.
There are many great historical figures associated with his life and we see Chris Draper as Sheridan, the manager of the Drury Lane Theatre to whom Joey is contracted for life as a child and Ifan Jones as Lord Byron as well as meeting Richard Hughes the manager of the rival Sadler’s Wells Theatre.The creative team lead by the director, Fraser Stainton should be encouraged as they have something of real potential to work on with opportunities to develop the choreography by Georgia Benson. I would like to see a segment actually recreating one of the performances that made him famous such as the 1806 Pantomime Harlequin and Mother Goose and of course it is surprising that his signature tune 'Hot Godlins' was not featured. Joey Grimaldi is a life worth celebrating and a perfect human interest story of love, survival and fame that will resonate today. We can only hope that the Producers find the backers to develop this show and bring it into the West End in a few years where the story deserves to be.
Review by Nick Wayne
Rating: ★★★
Seat: Online Stream | Price of Ticket: £15
