Au revoir! Mange tout, Mange tout as Del Boy would say. Yes, rolling into town to the Edinburgh Playhouse for one week only comes a treat for the fans of Only Fools and Horses – ‘Only Fools and Horses The Musical’! Spend an evening re-living the best moments from the hit show with all your favourite characters just as they were with an added West End flair. Fans of the show will not want to miss this love letter to a diamond of British Sitcom.
As soon as you sit in your seat you are instantly taken to the heart of the East End in good old London. Alice Power’s set brings that familiarity of the Trotters hometown of Peckham with the market stalls, pub and of course the flat mirroring the feel of the beloved show. The incorporation of the digital screen as a backdrop adds an ease of transitions to the stage and is used well.
The opening number was a feast for the eyes and the ears. Instantly we hear that famous theme tune and it is arranged efficiently and sung with admiration. Stuart Morley’s arrangement on the classic doesn’t change it but gives it the sparkle needed for the stage.
Bursting through the doors to applause we meet our Del Boy played by Sam Lupton. I have no higher praise to give Lupton, his characterization of the beloved Derrick Trotter was so close to that of David Jason’s original take it was an utter delight to watch. His mannerisms, his speech, the dialect, everything was faultless. You felt you were watching a young David Jason on stage back in the iconic role. Lupton never let up, his energy, comedic timing and his stage presence carried this performance and every time he entered you felt at ease and ready for more.
As Del’s younger brother, Tom Major’s take on Rodney was comfortable. Fresh out of drama school Major does well and keeps the traits of Rodney Trotter close to the original but lacks in attitude and command. Known for being slightly dim-witted but loveable, Major’s portrayal of this was noted but slightly forgettable.
Stepping into the iconic shoes of Grandad is the talented and witty Paul Whitehouse, who also co-wrote this love-letter to the original programme. Whitehouse delivers this character perfectly. He plays the loveable rouge well and brings a softer side to chaotic moments within the story. Playing an older character can be tricky, but Whitehouse brings energy to the musical numbers he contributes to, especially the standout ‘Where Have All the Cockneys Gone’ which includes most of the cast and feels like a genuine knee’s up in an East End pub.
Playing Del’s love interest is Georgina Hagen as Raquel. The character’s solo number showcased Hagen’s range and powerful vocals. Feisty yet vulnerable, Hagen matched Lupton’s Del extremely well and the onstage chemistry was most definitely there. Showcasing their talent both in choreography and vocals, Hagen makes a mark on this version of Raquel and it’s a delight to watch.
Nicola Munns is one to watch. Munns plays both Rodney’s wife-to-be Cassandra and the loveable, flirtatious Marlene. As Cassandra, Munns plays it close to the original but doesn’t have much impact, which is no fault of theirs as the script doesn’t lend itself to standout moments for Cassandra’s character. However, as Marlene everything is there. The attitude, the voice and the moments with Craig Berry’s Boycie are a treat for the fans and non-fans alike. The rapport they have together is effortless and there is a touching but hilarious number in Act 2 which they deliver with ease. Speaking of Craig Berry’s Boycie, again they have the character down. Boycie’s iconic laugh was not missed and Berry lived up to the expectations of what the audience associate with the loved character.
Deadpan, road-sweeper Trigger is a hard one to portray. Rodger Lloyd-Pack was made for the role and it is a very, very tough act to follow. Lee VG’s portrayal of the slightly dim but hilarious Trigger was a good attempt but felt it was lacking in the timing and awkward silences that Trigger does so well. However, VG delivered (what I felt was a bit of a random musical number in Act 2) ‘Gaze Into My Ball’ with humour and good characterisation although if the rest of the cast were not involved in the number it would have lacked impact.
Rounding off the cast is Bradley John playing Denzil, Darryl Paul as Mike/Tony Driscoll, Peter Watts as Danny Driscoll/Mickey Pearce, Richard J Hunt as the Dating Agent and Gloria Acquaah-Harrison as Mrs Obooko. Although each has limited moments to shine in the spotlight, each character was a welcome addition to the story. John’s Denzil was warm but forgettable. The audience did not get to embrace Denzil as much as the original show does. Darryl Paul and Peter Watts as the Driscoll brothers were menacing yet filled with light, humour moments. A special mention goes to Peter Watt’s Danny Driscoll whom he played with a menacing air but yet brought warmth to the tender moments. Hunt’s stage presence not only as the Dating Agent but as an array of characters throughout was scene-stealing. Hunt brings unlimited humour to all their characters and the energy never drops. The stunning vocals of Gloria Acquaah-Harrison were what captured the essence of the hardship of the time yet the sense of community. Again each scene Acquaah-Harrison appeared, immediately captured the attention of everyone with their wit and scene-stealing moments.
The ensemble consisted of Andrew Bryant, Kieran Andrew, Christopher Arkeston, Philip Childs, Amanda Coutts, Oscar Dobbins, Rhys Owen and Katie Paine, who were primed and ready to go. Full of energy and that East End attitude they never faltered out of character and supported the cast throughout the entirety. Comedic moments, choreographed numbers and strong vocals, they made a strong company full of talented and versatile actors.
For a musical, it lacked memorable songs and scores. The opening number was the ultimate opener for this musical consisting of the entire cast singing the theme song we all know and love but unfortunately that is where the hits ended. The songs were lacking in not only melodies but in forgettable lyrics and felt misplaced throughout the story. Although two exceptions of this were the numbers ‘Mange Tout’ and ‘The Tadpole Song’ but whether that was due to the incredible portrayal of the characters that made them memorable is to be interpreted.
Musical direction by Rachel Murphy was exceptional even if the songs did not land. The clear and steady direction of the band brought light and a feel-good atmosphere to the production. Ian Scott’s lighting design brought the right feeling of the dingy lighting in the flat and pub, to the lamp lit streets of the East End. The atmosphere was perfect and felt like you were right in the heart of the action. Liz Ascroft’s costume design was on point and achieved to perfection capturing the personalities of every cast member impeccably.
For me, the production lacked a cohesive story. It felt all over the place with a lack of direction. Although we enjoy a lot of the gags and one-liners from the original show, it felt misplaced and that you were watching a ‘best of’ episode rather than something new. This is not to say that it is not worth going to see, as a fan of the sitcom I found it was a wholesome love-letter to the show and if, like me, you grew up watching it, you will not want to miss the opportunity to grab a ticket.
Playing at the Edinburgh Playhouse until Saturday 9th November, Only Fools and Horses The Hit Musical promises to be a treat for the fans. Grab your tickets at https://www.atgtickets.com/shows/only-fools-and-horses-the-musical/edinburgh-playhouse/
Cushty!
Theatre Scotland 
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