It’s not every day that Janie and I go to the opening night of a west end run that is itself the opening night of a brand new theatre. In fact, @sohoplace is the first new build theatre to open in London’s West End in the last 50 years, making this quite possibly a “once in a lifetime opportunity” to attend such an event.
In fact, this world premier production of Marvellous was first aired at the New Vic in Newcastle-Under-Lyme earlier this year, to rave reviews which are touted in big letters on the @sohoplace website, where information about the autumn 2022 west end run can be found.
Marvellous is based on the true story of Neil Baldwin (click here for Wikipedia entry), an uncomplicated, happy soul who, in 1960, wandered through the gates of Keele University as a local teenager and found a safe space there to bring his dreams to reality. Those dreams mostly involve football and/or meeting famous people. As a result, Neil has been honoured with a British Empire Medal, freedom of the cities of Stoke-on-Trent & Newcastle-Under-Lyme, an honorary degree from Keele, plus, first (and possibly best) of all, since 1968, honorary life membership of Keele University Students’ Union.
Neil never had a formal role at Keele, neither staff nor student, whereas some of us actually did the “hard yards”…OK they weren’t all that hard…for our accolades. I arrived at Keele 20 years after Neil’s teenage adventure started and was still there five years later when we (by which I mean the Students’ Union) voted at a UGM to deem 1985 The Neil Baldwin Jubilee Year. I find myself juxtaposed with Neil in the Concourse article reporting that meeting:
Reading the above article, it seems that Mark Ellicott, who was the Speaker at that 1985 UGM, curtailed the discussion on the proposal to name 1985 “The Neil Baldwin Jubilee Year” at Keele, by suggesting that anyone who might vote against the proposal would be:
a nasty individual.
I suspect the proposal was approved by acclamation.
Mark might remember. Coincidentally, I am due to see Mark on 17 October (just two days after seeing the show) and additionally coincidentally he is now running the Outernet music venue just opposite @sohoplace.
Indeed, it is through my sustained Keele connections that Janie and I ended up @sohoplace on the opening night, having spotted on the Keele alumni FB postings that the show was transferring to the West End. I managed to grab a brace of good seats for the opening night, which felt like the right thing to do. Why wait any longer than that?
We got to @sohoplace ludicrously early. We wanted to have a look around this new theatre, which we did, but you don’t really need best part of an hour to do that.
Still, we got to chat with some of the lovely staff at this new theatre who were “beyond excited” about their opening night and some of them were even more excited than that when they learnt that I had known Neil at Keele all those years ago. I told them to expect a fair number of Keele alums during the run, because Keele alums are a bit like that.
We enjoyed our ludicrously earliness in the charming new space, until the theatre bell went. At that point, of course, our carefully chosen end seats (we’re seasoned theatre-in-the-round types, me and Janie, e.g. at The Orange Tree Theatre, so we know to go for those) meant that we had to make way for more or less everyone.
The place seemed pretty full, possibly completely full, as the show was about to begin. I think I spotted Malcolm Clarke himself in the audience (he’s a big fella) but other than that I didn’t recognise any Keele alums, although I’d guess there were a few others there.
What should I say about the play and production itself?
The play is, in a way, an adaptation of the BAFTA-Award-winning film Marvellous (2014), which was itself a post-modern biopic about Neil’s extraordinary life, in which Toby Jones played the part of Neil, while Neil himself also appeared in the film.
The conceit of the play is that six actors have gathered to workshop/depict Neil’s life, only to be interrupted by “the real Neil” (actor Mike Hugo, whose voice was unerringly Neil-like). Some of the actors are seeking meaning and metaphor from Neil’s story, threatening at times to declaim profound monologues, while “the real Neil” finds ways to steer the telling as a rollicking, fun-packed yarn.
Thus the Keele graduate (along with my broad-based-foundation-year-underpinned education) in me would describe the piece as a post-postmodern (or perhaps I should say metamodern) bildungsroman exploring the life and times of Neil Baldwin…
…whereas Neil would no doubt describe it as:
a funny play about me, to make people happy.
There are no shocks or unexpected plot twists in this play. Indeed the play version has straightened out the time-line of Neil’s life, whereas the film was deliberately vague about time-lines, darting back and forth in time on occasion. This “story straightening” makes the play much easier to follow but in some ways over-simplifies.
For example, the play’s timeline implies that Neil went off to the circus in 1980 and returned to North Staffordshire at the end of the 1980s. The truth of the matter is that his circus career, which the play rightly depicts as an environment in which Neil was repeatedly subjected to mistreatment, must have been a stop-start career with quite lengthy periods of return to his family home and Keele throughout the 1980s – certainly the early to mid 1980s when I was at Keele.
But that is detail.
Most importantly, the play tells its mostly heart-warming, comedic tale with verve and light-hearted spirit. The production is excellent and the performances were mostly pitch-perfect (did you see what I did there with a football pun?).
I was especially taken with Suzanne Ahmet’s depiction of Neil’s mum (Gemma Jones’s film shoes being hard ones to fill) and I commend Gareth Cassidy’s comedy timing, in particular when depicting characters with a huge variety of accents, sometimes having to change articulatory-tack at alarming speed.
Yes, some of the comedy tended towards slapstick or pantomime style, but this is the story of Neil Baldwin, a man who spent much of his career as a clown. The sillier aspects of the play were well-bounded and skilfully delivered. Oh yes they were. Oh yes they were.
Best of all, the audience was absolutely carried by Marvellous on that opening night and I sense that almost everyone left @sohoplace feeling happier than they felt on arrival. As the man himself would say,
that’s marvellous.
