THE LAUREL AND HARDY RADIO SHOW (Written audience feedback, June 2024)
* Delightfully entertaining. Admirably light touch.
* Brilliant show.
* How a radio play should be done! Great work.
* Really enjoyed the show. Haven't seen Laurel & Hardy since I was a child. Very funny.
* What a scream! I so enjoyed it; it's so lovely to have such a good laugh. Thank you.
* Just like experiencing the real thing. 5 stars!!!
* Very life-like, convincing and funny with a great cast with them.
* Very funny. Could have watched more.
* Thoroughly entertaining. Loved it! Maintaining the high standard of your show last year.
* A fantastic rendition of 3 stories - great from start to finish. Well done L&H and the team. Thank you.
* Excellent - as always!
* Brilliant show.
* How a radio play should be done! Great work.
* Really enjoyed the show. Haven't seen Laurel & Hardy since I was a child. Very funny.
* What a scream! I so enjoyed it; it's so lovely to have such a good laugh. Thank you.
* Just like experiencing the real thing. 5 stars!!!
* Very life-like, convincing and funny with a great cast with them.
* Very funny. Could have watched more.
* Thoroughly entertaining. Loved it! Maintaining the high standard of your show last year.
* A fantastic rendition of 3 stories - great from start to finish. Well done L&H and the team. Thank you.
* Excellent - as always!
BETHNAL GREEN (David Wadmore, Fringe TheatreFest, June 2023)
Ushered into our seats along a gloomy corridor into a darkened room, we were immediately assaulted by a chemical smell, and curt commands from two uniformed Air Raid Wardens who wielded torches to light up our sets. When all were safely seated, they told the story of the Bethnal Green disaster, where 173 people died in an underground station in World War II.Describing the unfinished underground in detail, the mention of chemical toilets on the platforms and bunk beds in the unfinished tunnels explained the odd odour.
The deaths were not caused by enemy action, but by the result of a single falling person on a darkened stairway causing a catastrophic melee of 300 crushed bodies and broken limbs, as people hurried in fear of an air raid.Our two Air Raid Warden narrators expertly set the scene: one of concerned safety reports and local authority inaction. This verbatim production brought to life the voices of the survivors, the eyewitnesses of the tragic evening.As if the catastrophe (now some 80 years ago) was not enough, it was shocking to hear how the authorities, including Winston Churchill, sought to cover up the events.Historic, yes, but also strangely up to date as the modern audience shuffled slowly out, more familiar with images of people sheltering in the Kyev metro and reading reports of Hillsborough and Grenfell cover ups. As the all-clear sounded we reflected on how little things have changed.Well-constructed and thought provoking, Lucky Dog deserve credit for their succinct impactful production. Using uplights to alternately illuminate their faces, the narrative progressed as each cast member took on the multiplicity of voices. It is important that these voices are still heard.
The deaths were not caused by enemy action, but by the result of a single falling person on a darkened stairway causing a catastrophic melee of 300 crushed bodies and broken limbs, as people hurried in fear of an air raid.Our two Air Raid Warden narrators expertly set the scene: one of concerned safety reports and local authority inaction. This verbatim production brought to life the voices of the survivors, the eyewitnesses of the tragic evening.As if the catastrophe (now some 80 years ago) was not enough, it was shocking to hear how the authorities, including Winston Churchill, sought to cover up the events.Historic, yes, but also strangely up to date as the modern audience shuffled slowly out, more familiar with images of people sheltering in the Kyev metro and reading reports of Hillsborough and Grenfell cover ups. As the all-clear sounded we reflected on how little things have changed.Well-constructed and thought provoking, Lucky Dog deserve credit for their succinct impactful production. Using uplights to alternately illuminate their faces, the narrative progressed as each cast member took on the multiplicity of voices. It is important that these voices are still heard.
THE RED BALLOON (Audience, Fringe TheatreFest, June 2022)
Wow! What a brilliant show! You made me laugh out loud. You are truly skilled performers. I loved this! (Caroline)
This is great! I love these guys! Went to see them at the Barnstaple Fringe. A magical tale was told, both the adults and kids were drawn in and escaped to another land! I'm thinking of going to see them again today; it's a long time since I laughed out loud at such innocent fun. Thank you. Totally escapist fun for kids and adults alike. Do go and see it. ***** (Jenny)
This is great! I love these guys! Went to see them at the Barnstaple Fringe. A magical tale was told, both the adults and kids were drawn in and escaped to another land! I'm thinking of going to see them again today; it's a long time since I laughed out loud at such innocent fun. Thank you. Totally escapist fun for kids and adults alike. Do go and see it. ***** (Jenny)
THE RED BALLOON (Mark Ashmore, Fringe TheatreFest Review, 25th June 2022)
The Red Balloon is a joyous and imaginative adventure through the backstreets of Paris, with Pascal and his new friend, a balloon.
Lucky Dog have impressed audiences with their comedic skills before at Theatrefest, but this show might just be their best yet. It’s a wonderfully heartfelt story of friendship, filled with laughter and fun.
The jokes come thick and fast in this show, as do the many colourful inhabitants of the Parisian suburbs, all brought to life on stage with verve, energy and an outrageous wig and fake beard or two.
Ultimately though it is the relationship between Pascal and his balloon that stays with you, a beautiful reminder that there are some friends you just can’t let go of.
Lucky Dog have impressed audiences with their comedic skills before at Theatrefest, but this show might just be their best yet. It’s a wonderfully heartfelt story of friendship, filled with laughter and fun.
The jokes come thick and fast in this show, as do the many colourful inhabitants of the Parisian suburbs, all brought to life on stage with verve, energy and an outrageous wig and fake beard or two.
Ultimately though it is the relationship between Pascal and his balloon that stays with you, a beautiful reminder that there are some friends you just can’t let go of.
THE RED BALLOON (Viv Marriott, Buxton Fringe Review, July 2020)
Lucky Dog Theatre Productions have taken the classic French 1956 film, The Red Balloon, and adapted it for the stage with the addition of their own brand of humour and lively personalities.
The Red Balloon is the story of a friendship between Pascal, a lonely young French boy, and a red balloon he finds on the way to school one morning. Tony Carpenter plays a very convincing young boy whilst Philip Hutchinson plays everyone else with gusto. Watching the video of a live performance at the Brighton Fringe last year gives many different experiences. There is something for adults, something for children and the added dimension of watching the audience enjoy themselves and hearing the comments made by both children and adults. I loved the squeal of delight from one child when he saw a pile of balloons being stored off stage.
For adults Tony and Philip step out of character to joke, make witty asides and argue, mostly about the fact that Philip does not like the parts he has to play, which he has actually written. Children like the more physical and visual aspects such as Philip bringing on a toy duck and a toy dog when required to play 3 tough boys and of course, the story itself captivates children. Children and adults alike roared with laughter when Philip appeared as a young girl complete with bright yellow wig and pigtails.
Dramatic tension was created through the use of music and voices. We could feel Pascal’s concern for his friend, the red balloon, when his mother did not want it in the house and hear his stress as he was being chased by the bad boys who wanted to take the balloon.
The changes in pace, use of music and many characters played by Philip ensure that production moves along at a lively pace, good for young children. I am not going to give away the ending but when Lucky Dog Theatre do this production as a live show all children are given a red balloon to take home.
So buy some red balloons, sit down with the family and enjoy the show.
The Red Balloon is the story of a friendship between Pascal, a lonely young French boy, and a red balloon he finds on the way to school one morning. Tony Carpenter plays a very convincing young boy whilst Philip Hutchinson plays everyone else with gusto. Watching the video of a live performance at the Brighton Fringe last year gives many different experiences. There is something for adults, something for children and the added dimension of watching the audience enjoy themselves and hearing the comments made by both children and adults. I loved the squeal of delight from one child when he saw a pile of balloons being stored off stage.
For adults Tony and Philip step out of character to joke, make witty asides and argue, mostly about the fact that Philip does not like the parts he has to play, which he has actually written. Children like the more physical and visual aspects such as Philip bringing on a toy duck and a toy dog when required to play 3 tough boys and of course, the story itself captivates children. Children and adults alike roared with laughter when Philip appeared as a young girl complete with bright yellow wig and pigtails.
Dramatic tension was created through the use of music and voices. We could feel Pascal’s concern for his friend, the red balloon, when his mother did not want it in the house and hear his stress as he was being chased by the bad boys who wanted to take the balloon.
The changes in pace, use of music and many characters played by Philip ensure that production moves along at a lively pace, good for young children. I am not going to give away the ending but when Lucky Dog Theatre do this production as a live show all children are given a red balloon to take home.
So buy some red balloons, sit down with the family and enjoy the show.
THE LAUREL AND HARDY CABARET (Karen Wain-Pilmott, Buxton Fringe Review, July 2020)
Lucky Dog Theatre Productions present ‘The Laurel and Hardy Cabaret’. With Tony Carpenter and Philip Hutchinson offering an uncanny portrayal of the much loved Stan Laurel and Oliver Hardy, prepare to get sentimental.
The show draws from over 100 films and music hall routines spanning their 30-year career, so settle back and enjoy classic slapstick comedy, song and dance at its best. Look out for my personal favourite the “soda, soda, soda” skit from their 1929 Men O’War movie.
The audience was in stitches and it was great to see a whole new group of children discovering Stan and Ollie for the first time almost 100 years after the original performances.
With gentle nostalgic humour, this show will suit all the whole family from young to old.
Review comments: Saw them last year at the Buxton Fringe. I thought I couldn't laugh as much again but I did.
- Toffee
Lovely show, well studied and affectionate tribute to the great comedy duo. - BFFFan
The show draws from over 100 films and music hall routines spanning their 30-year career, so settle back and enjoy classic slapstick comedy, song and dance at its best. Look out for my personal favourite the “soda, soda, soda” skit from their 1929 Men O’War movie.
The audience was in stitches and it was great to see a whole new group of children discovering Stan and Ollie for the first time almost 100 years after the original performances.
With gentle nostalgic humour, this show will suit all the whole family from young to old.
Review comments: Saw them last year at the Buxton Fringe. I thought I couldn't laugh as much again but I did.
- Toffee
Lovely show, well studied and affectionate tribute to the great comedy duo. - BFFFan
THE LAUREL AND HARDY CABARET (Sofia Luis-Hobbs, Leicestershire Press, 24th February 2020)
Laurel and Hardy are undoubtedly a classic comedy duo but they’re an acquired taste in this day and age.
And if I didn’t quite acquire it, it certainly wasn’t for want of trying. I grew up watching them on DVD with my dad. It wasn’t my cup of tea but I sat and watched nonetheless, as he was reduced to hysterics beside me.
It’s been years since I’ve seen any of their films, but when the chance presented itself to go and see a cabaret version of their act I couldn’t help but smile at the thought – not necessarily at the show but at the memories it sparked.
The show began with the immortal theme tune, triggering giggles around the room and I knew then that the next 120 minutes would be a trip down memory lane for everyone in there.
Well, pretty much everyone. The cabaret had drawn a mixed crowd to the Great Hall of the Guildhall, including several younger children and a toddler or two who cooed during some inopportune moments – but Tony Carpenter and Philip Hutchinson had it covered. Quick on their feet, they found ways to incorporate these noises off into their performance, particularly whenever Laurel needed a talking to – which, of course, was often.
The duo really are the full package when it comes to impersonating the iconic pair. Not only did they embody the characters perfectly, they bear an uncanny physical resemblance of the original Laurel and Hardy.
Carpenter, who plays Laurel, mimics the famous head wiggle, the outbursts of crying and sheer naivety throughout the performance to a tee. Hutchinson, as Hardy, gets to dominate, which of course brings with it the famous tie grab alongside a flustered laugh and pursed lips.
The cabaret includes an array of the duo’s classic sketches, from their earlier works to their final ones, as well as some sketches that were never released.
Performing famous routines from Swiss Miss, Men O’ War and Sons of the Desert, Carpenter and Hutchinson pull it out of the bag – and no, I’m not talking about the random things Carpenter seems to pull out of his bag to irritate his onstage partner.
Yet they also brought the act up to date, with a song performed to a photo of Susan Boyle. It was unconventional but a stroke of genius, alongside other tricks they had up their sleeves to get younger audiences involved.
Fun-filled and family friendly, the cabaret is a true homage to the duo, which Laurel and Hardy fans will be sure to adore.
And if I didn’t quite acquire it, it certainly wasn’t for want of trying. I grew up watching them on DVD with my dad. It wasn’t my cup of tea but I sat and watched nonetheless, as he was reduced to hysterics beside me.
It’s been years since I’ve seen any of their films, but when the chance presented itself to go and see a cabaret version of their act I couldn’t help but smile at the thought – not necessarily at the show but at the memories it sparked.
The show began with the immortal theme tune, triggering giggles around the room and I knew then that the next 120 minutes would be a trip down memory lane for everyone in there.
Well, pretty much everyone. The cabaret had drawn a mixed crowd to the Great Hall of the Guildhall, including several younger children and a toddler or two who cooed during some inopportune moments – but Tony Carpenter and Philip Hutchinson had it covered. Quick on their feet, they found ways to incorporate these noises off into their performance, particularly whenever Laurel needed a talking to – which, of course, was often.
The duo really are the full package when it comes to impersonating the iconic pair. Not only did they embody the characters perfectly, they bear an uncanny physical resemblance of the original Laurel and Hardy.
Carpenter, who plays Laurel, mimics the famous head wiggle, the outbursts of crying and sheer naivety throughout the performance to a tee. Hutchinson, as Hardy, gets to dominate, which of course brings with it the famous tie grab alongside a flustered laugh and pursed lips.
The cabaret includes an array of the duo’s classic sketches, from their earlier works to their final ones, as well as some sketches that were never released.
Performing famous routines from Swiss Miss, Men O’ War and Sons of the Desert, Carpenter and Hutchinson pull it out of the bag – and no, I’m not talking about the random things Carpenter seems to pull out of his bag to irritate his onstage partner.
Yet they also brought the act up to date, with a song performed to a photo of Susan Boyle. It was unconventional but a stroke of genius, alongside other tricks they had up their sleeves to get younger audiences involved.
Fun-filled and family friendly, the cabaret is a true homage to the duo, which Laurel and Hardy fans will be sure to adore.
THE RED BALLOON (Irene Brown, Radio Summerhall Reviews, 23rd August 2019)
In 1956, French director Albert Lamorisse made a film that has become a classic of its genre and starred his son Pascal. This film was Le Ballon Rouge (in English The Red Balloon) and tells a beautiful and fantastic tale of a lonely wee boy who finds surprising and envy inducing friendship with a magical red balloon.
Dressed in tieless buttoned-to-the-neck white shirts, Tony Carpenter and Philip Hutchinson of Lucky Dog Theatre Productions from Guildford in Surrey, have made a sensitive and amusing adaptation of this French children’s classic. Transferring one genre of art to another is an art in itself, especially when dealing with a classic text and these two have managed to make the story theatrical without losing the gentle charm and innocence of the original story.
Carpenter plays the central role of young Pascal and Hutchinson plays the array of subsidiary parts that comprise all the key characters, from the school janitor to the gang of ruffians to the flirty wee girl with the blue balloon.
The technicalities involved in making a balloon appear to have an independent life was ground-breaking in its time but this pair pull it off through simple inventiveness. Lucky Dog’s immense knowledge of the original is clear to anyone who also knows the film, confirming what a good job these guys do of transferring its story to the stage
All the significant points of the film are covered as scene by scene is faithfully narrated and acted out, as their self-referential humour weaves playfully through the performance and the film’s evocative soundtrack tinkles the air. The memorable magic of the film’s breath-taking final scene comes across touchingly as they aptly get the help of some of the audience.
The farting noise [not intentional!] as the balloon deflates thanks to a catapult shot reduces the poignancy of the moment but it’s about the only flaw in this respectful and charming tribute. For anyone familiar with the film, allow yourself to float in the nostalgia created by this company but if the story is new to you, just to enjoy this delightfully performed magical tale of friendship and loyalty. Lucky Dog’s respectful adaptation should encourage folk to seek out Albert Lamorisse’s joyous original film.
Dressed in tieless buttoned-to-the-neck white shirts, Tony Carpenter and Philip Hutchinson of Lucky Dog Theatre Productions from Guildford in Surrey, have made a sensitive and amusing adaptation of this French children’s classic. Transferring one genre of art to another is an art in itself, especially when dealing with a classic text and these two have managed to make the story theatrical without losing the gentle charm and innocence of the original story.
Carpenter plays the central role of young Pascal and Hutchinson plays the array of subsidiary parts that comprise all the key characters, from the school janitor to the gang of ruffians to the flirty wee girl with the blue balloon.
The technicalities involved in making a balloon appear to have an independent life was ground-breaking in its time but this pair pull it off through simple inventiveness. Lucky Dog’s immense knowledge of the original is clear to anyone who also knows the film, confirming what a good job these guys do of transferring its story to the stage
All the significant points of the film are covered as scene by scene is faithfully narrated and acted out, as their self-referential humour weaves playfully through the performance and the film’s evocative soundtrack tinkles the air. The memorable magic of the film’s breath-taking final scene comes across touchingly as they aptly get the help of some of the audience.
The farting noise [not intentional!] as the balloon deflates thanks to a catapult shot reduces the poignancy of the moment but it’s about the only flaw in this respectful and charming tribute. For anyone familiar with the film, allow yourself to float in the nostalgia created by this company but if the story is new to you, just to enjoy this delightfully performed magical tale of friendship and loyalty. Lucky Dog’s respectful adaptation should encourage folk to seek out Albert Lamorisse’s joyous original film.
THE LAUREL AND HARDY CABARET (Stan Fan, The Periwinkle, August 2019)
One Saturday in July I made the trip from Lancashire to Buxton in Derbyshire to finally see a show that I’d wanted to see for a while - ‘The Laurel & Hardy Cabaret’ by Lucky Dog Theatre Productions with Tony Carpenter as Stan and Philip Hutchinson as Ollie. It’s over five years now since I last saw Tony and Philip performing – when they appeared at Another Fine Fest in Ulverston with their ‘Hats Off To Laurel & Hardy’ show. The wait to see them on stage again with this new Laurel & Hardy show was well worth it, I’ve got to say!
The venue was a compact studio within the Arts Centre in the town, conveniently located right next to the stunning Buxton Opera House, which was designed by Frank Matcham (who also designed various other theatres, including the London Palladium and - closer to home for me! – the Blackpool Grand theatre). As I waited patiently in the bar in my Stan Laurel T-shirt with the other enthusiastic audience members before the show it was nice to see several bowler hats being worn as people were obviously getting into the spirit of it! There was a funny moment when we were queuing up to be let into the studio and we caught sight of a piano in the Arts Centre – I think we were all wondering to ourselves whether Stan and Ollie would turn up at any minute to carry it up a flight of stairs! Sadly, they didn’t and the piano remained intact and untouched!
I can’t tell you what I was expecting to see but I was both surprised and impressed at just how good and well thought out it was. With a mix of recreated scenes from their films as well as all three of their stage sketches, the audience were taken on a non-stop journey through Laurel & Hardy’s career. Having only ever read about their stage sketches it was a real treat for me to see them brought to life – and it does make me wish that I could have seen them in person all those decades ago! The cabaret format worked perfectly and you could imagine the real Stan and Ollie doing the same type of show if they’d worked without supporting acts on stage.
It would have been very easy to just string together the most famous scenes that everyone knows and loves but there were pleasant surprises too, such as the ‘soda’ scene from ‘Men O’War’, and clever twists on the classic routines, like Stan singing and Ollie dancing (reluctantly!) at one point as well as Ollie singing ‘The Ideal of my Dreams’ to a framed photograph of Susan Boyle, which raised a laugh. Even when things didn’t go quite to plan – when Stan forgot what ‘relation’ he was to Ollie when visiting him in hospital during the ‘Birds of a Feather’ scene – the quick thinking and ad-libbing probably got a bigger laugh than if they got it right first time!
The one thing you can say about the show is that it is obviously a labour of love – well researched and well performed by two people who have grown into the roles ever since they started. The time and effort that has gone into creating this hour-long show is truly impressive, not only with the seamless joining of the routines but the subtle technical bits with the backing tracks all controlled onstage by Philip and Tony without the need for any other cast or crew – maybe they decided that they wanted to ‘eliminate the middle man’! Let’s hope that there are some more Laurel & Hardy gems that they can turn their hand to and put on another show.
If you haven’t had the chance to see it yet then I can highly recommend it – to quote a line from the title song of a musical ‘come to the cabaret, old chum’ - you won’t be disappointed!
The venue was a compact studio within the Arts Centre in the town, conveniently located right next to the stunning Buxton Opera House, which was designed by Frank Matcham (who also designed various other theatres, including the London Palladium and - closer to home for me! – the Blackpool Grand theatre). As I waited patiently in the bar in my Stan Laurel T-shirt with the other enthusiastic audience members before the show it was nice to see several bowler hats being worn as people were obviously getting into the spirit of it! There was a funny moment when we were queuing up to be let into the studio and we caught sight of a piano in the Arts Centre – I think we were all wondering to ourselves whether Stan and Ollie would turn up at any minute to carry it up a flight of stairs! Sadly, they didn’t and the piano remained intact and untouched!
I can’t tell you what I was expecting to see but I was both surprised and impressed at just how good and well thought out it was. With a mix of recreated scenes from their films as well as all three of their stage sketches, the audience were taken on a non-stop journey through Laurel & Hardy’s career. Having only ever read about their stage sketches it was a real treat for me to see them brought to life – and it does make me wish that I could have seen them in person all those decades ago! The cabaret format worked perfectly and you could imagine the real Stan and Ollie doing the same type of show if they’d worked without supporting acts on stage.
It would have been very easy to just string together the most famous scenes that everyone knows and loves but there were pleasant surprises too, such as the ‘soda’ scene from ‘Men O’War’, and clever twists on the classic routines, like Stan singing and Ollie dancing (reluctantly!) at one point as well as Ollie singing ‘The Ideal of my Dreams’ to a framed photograph of Susan Boyle, which raised a laugh. Even when things didn’t go quite to plan – when Stan forgot what ‘relation’ he was to Ollie when visiting him in hospital during the ‘Birds of a Feather’ scene – the quick thinking and ad-libbing probably got a bigger laugh than if they got it right first time!
The one thing you can say about the show is that it is obviously a labour of love – well researched and well performed by two people who have grown into the roles ever since they started. The time and effort that has gone into creating this hour-long show is truly impressive, not only with the seamless joining of the routines but the subtle technical bits with the backing tracks all controlled onstage by Philip and Tony without the need for any other cast or crew – maybe they decided that they wanted to ‘eliminate the middle man’! Let’s hope that there are some more Laurel & Hardy gems that they can turn their hand to and put on another show.
If you haven’t had the chance to see it yet then I can highly recommend it – to quote a line from the title song of a musical ‘come to the cabaret, old chum’ - you won’t be disappointed!
THE LAUREL AND HARDY CABARET (Robbie Carnegie, Buxton Fringe Review, 14th July 2019)
The Steve Coogan / John C Reilly 'biopic' Stan & Ollie has reignitied a nostalgic love of the routines of Laurel & Hardy. As established in the film, the duo toured extensively with stage versions of their sketches, and it is this that is recreated in this loving tribute.
The duo are brought to life by Tony Carpenter and Philip Hutchinson. Carpenter captures Laurel's diffident clownish persona, pricking the pomposity of Hutchinson's more worldly Hardy. Together they bring to life sketches such as Birds Of A Feather (in which Ollie is visited in hospital by Stan) and Men O'War, in which Stan and Ollie - dressed as sailors - attempt to buy two girls sodas in a bar. The sketches are punctuated by musical interludes, as ever generally delivered by the more musically accomplished Hardy.
The packed house at the Arts Centre Studio were brought together by a love of Laurel & Hardy and Lucky Dog delivered exactly what they wanted - polished, affectionate and joyful renditions of this classic material - and, at the end of the show, the audience spontaneously joined in with the singing of On The Trail Of The Lonesome Pine, a fitting end to a nostalgic, thoroughly enjoyable evening.
The duo are brought to life by Tony Carpenter and Philip Hutchinson. Carpenter captures Laurel's diffident clownish persona, pricking the pomposity of Hutchinson's more worldly Hardy. Together they bring to life sketches such as Birds Of A Feather (in which Ollie is visited in hospital by Stan) and Men O'War, in which Stan and Ollie - dressed as sailors - attempt to buy two girls sodas in a bar. The sketches are punctuated by musical interludes, as ever generally delivered by the more musically accomplished Hardy.
The packed house at the Arts Centre Studio were brought together by a love of Laurel & Hardy and Lucky Dog delivered exactly what they wanted - polished, affectionate and joyful renditions of this classic material - and, at the end of the show, the audience spontaneously joined in with the singing of On The Trail Of The Lonesome Pine, a fitting end to a nostalgic, thoroughly enjoyable evening.
THE RED BALLOON (Robbie Carnegie, Buxton Fringe Review, 14th July 2019)
The Red Balloon is a French short film from 1956, the story of a young boy in Paris and the balloon which appears to have a mind of its own as it joins him on his daily journeys around the city. It's a piece of Gallic whimsy which I recall watching as part of the Picture Box schools programme of the 1970s, and I found it charming at the time.
Lucky Dog Theatre Productions, in the form of actors Tony Carpenter and Philip Hutchinson, have turned the film into an appealing 35-minute show, in which Carpenter plays Pascal and Hutchinson plays all the Parisian characters he meets on his travels. They apply a comical approach to the source material, particularly Hutchinson, who revels in playing Pascal's mother, a dog, a bus driver, a teacher, a priest and others. I particularly enjoyed his portrayal of Sabine, the little girl Pascal meets who owns a similarly sentient blue balloon - although he protests that he doesn't want to play the role and looks ridiculous in blonde pigtails, it's his most convincing character.
The third character in the piece is the balloon itself, which both actors operate well, while [deliberately] not entirely making us believe that it does exist as a character in its own right.
There is a looseness to this production - sometimes the actors break the fourth wall to puncture the reality they have created on stage. The audience enjoyed this sweet, smile-inducing little show; a very agreeable lunchtime treat for all ages.
Lucky Dog Theatre Productions, in the form of actors Tony Carpenter and Philip Hutchinson, have turned the film into an appealing 35-minute show, in which Carpenter plays Pascal and Hutchinson plays all the Parisian characters he meets on his travels. They apply a comical approach to the source material, particularly Hutchinson, who revels in playing Pascal's mother, a dog, a bus driver, a teacher, a priest and others. I particularly enjoyed his portrayal of Sabine, the little girl Pascal meets who owns a similarly sentient blue balloon - although he protests that he doesn't want to play the role and looks ridiculous in blonde pigtails, it's his most convincing character.
The third character in the piece is the balloon itself, which both actors operate well, while [deliberately] not entirely making us believe that it does exist as a character in its own right.
There is a looseness to this production - sometimes the actors break the fourth wall to puncture the reality they have created on stage. The audience enjoyed this sweet, smile-inducing little show; a very agreeable lunchtime treat for all ages.
THE LAUREL & HARDY CABARET (Written audience feedback, Fringe TheatreFest, 30th June 2019)
*Amazing. Loved it. What a bit of fun. Well done.
*Heartfelt, funny and uplifting
*Fantastic
*Delightful!
*Absolutely brilliant
*Amazing. Such a talented pair
*A fantastic impersonation. A timeless comedy that was a pleasure to watch
*Wonderfully acted
*Fabulous show. A very talented duo. Many thanks
*It was really funny and Laurel & Hardy made me laugh
*Great show
*Beautifully executed. Amazingly well studied tribute. Watching the originals live could not have been different.
*Truly a fine thing. Transported me back to watching them with my grandad, 4-5 years ago. Just like them.
*Really entertaining. Great performances.
*Absolutely fabulous - loved it!
*2nd time I've seen them. Absolutely fabulous.
*Professional and hugely entertaining. Well done.
*Brilliant! Cried with laughter.
*Heartfelt, funny and uplifting
*Fantastic
*Delightful!
*Absolutely brilliant
*Amazing. Such a talented pair
*A fantastic impersonation. A timeless comedy that was a pleasure to watch
*Wonderfully acted
*Fabulous show. A very talented duo. Many thanks
*It was really funny and Laurel & Hardy made me laugh
*Great show
*Beautifully executed. Amazingly well studied tribute. Watching the originals live could not have been different.
*Truly a fine thing. Transported me back to watching them with my grandad, 4-5 years ago. Just like them.
*Really entertaining. Great performances.
*Absolutely fabulous - loved it!
*2nd time I've seen them. Absolutely fabulous.
*Professional and hugely entertaining. Well done.
*Brilliant! Cried with laughter.
THE LAUREL & HARDY CABARET (Seraphina Allard-Bridge, Fringe TheatreFest Blog, 29th June 2019)
‘The Laurel and Hardy Cabaret’ – Lucky Dog Theatre Productions back with a show which will appeal to audiences of all ages.
Lucky Dog Theatre Productions are back in Barnstaple, and this time they bring a medley of Laurel and Hardy’s best work, with something for everyone – whether it be singing, dancing or the classic Laurel and Hardy comedy that we all love.
Familiar music welcomes us into the Baptist Hall, which is home to a variety of sketches over the next hour. Although decades old, the humour never seems dated and will appeal to audiences of all ages. Much of comedy nowadays rests on politics and cultural references, so the humour of Laurel and Hardy is a refreshing departure from this, relying only on the universality of the human experience.
I think it is the rapport between these two performers above all that helps the comedy to resonate across decades and across generations; at times like parent and child, at times like squabbling siblings, the playful dynamic created on stage is a relationship that we can all relate to. Laurel’s naïve and earnest character is contrasted by Hardy’s exasperation, and Tony Carpenter and Philip Hutchinson’s carefully crafted characterisation perfectly captures this.
Over the performance, we are transported to a variety of places and situations. Carpenter and Hutchinson masterfully juggle their props and music in order to smoothly recreate the range of iconic sketches. Even the technical difficulties that were thrown their way were tackled with humour and charm, and the audience were delighted throughout.
Whether it is to relive the joy of Stan and Ollie or to discover them for the first time, The Laurel and Hardy Cabaret is well worth a watch.
Lucky Dog Theatre Productions are back in Barnstaple, and this time they bring a medley of Laurel and Hardy’s best work, with something for everyone – whether it be singing, dancing or the classic Laurel and Hardy comedy that we all love.
Familiar music welcomes us into the Baptist Hall, which is home to a variety of sketches over the next hour. Although decades old, the humour never seems dated and will appeal to audiences of all ages. Much of comedy nowadays rests on politics and cultural references, so the humour of Laurel and Hardy is a refreshing departure from this, relying only on the universality of the human experience.
I think it is the rapport between these two performers above all that helps the comedy to resonate across decades and across generations; at times like parent and child, at times like squabbling siblings, the playful dynamic created on stage is a relationship that we can all relate to. Laurel’s naïve and earnest character is contrasted by Hardy’s exasperation, and Tony Carpenter and Philip Hutchinson’s carefully crafted characterisation perfectly captures this.
Over the performance, we are transported to a variety of places and situations. Carpenter and Hutchinson masterfully juggle their props and music in order to smoothly recreate the range of iconic sketches. Even the technical difficulties that were thrown their way were tackled with humour and charm, and the audience were delighted throughout.
Whether it is to relive the joy of Stan and Ollie or to discover them for the first time, The Laurel and Hardy Cabaret is well worth a watch.
THE RED BALLOON (Chloe Alexander, FringeReview, 17th June 2019)
Known to generations of film lovers, the 1956 classic The Red Balloon comes to the stage through the talents of the award-winning Lucky Dog duo. Their lovely retelling of this story loses nothing in its realisation for the stage from the screen.
The short film Le Ballon Rouge (The Red Balloon) was made in 1956 by the film maker AlbertLamorisse and featured his own children Pascal and Sabine in the main roles. Filmed in a romantic and shattered post-war Paris it is the tale of a young boy befriended by a red balloon which takes on a will of its own and follows Pascal through the streets, on the bus and into school. The metaphor of hope is clear from the start as the brightly coloured red balloon contrasts with the grey exterior of a war-ravaged city. Inevitably perhaps the forces of evil (other street boy gangs) set out to destroy Pascal’s other-worldy friend and as the film comes to its sad climax with the boys destroying the balloon with one slingshot, miraculously all the balloons of Paris release themselves from children and balloon sellers and gather to be with Pascal mourning his lost ‘friend’. As he grasps their strings, the balloons carry the boy up above the ruins of the city, bringing an almost religious message of hope and redemption.
With such a simple tale it would be easy to overlook the skill of the writing of taking a film with almost no dialogue (the teacher shouting “Silence!” at his unruly pupils is the only line of dialogue in the original film!) to a stage show requiring a narrative. But in the hands of Lucky Dog this is easily realised and we are guided through the story with ease.
Lucky Dog duo knew they were handling a classic so their take on it employs their charming double-act rivalry to place us firmly in the theatre and not necessarily out on the streets of post-war Paris. This is no sleight of hand as the charm of the story itself is compounded by our own compassion towards their ineptitude getting the show moving. Throughout the show one character will refuse to don a wig to represent the little girl in the film (who befriends Pascal and her blue equivalent balloon) and on other occasions an inappropriate prop will only add to the mayhem. There is a lovely duality between these two and their tetchiness and undermining tactics employed on each other are very funny indeed. At times this seems like a show within a show where we are focussed on them rather than the story itself. A familiar theatrical ploy but here used with ease and poise.
Supported by sounds masterminded by Aaron Clapp, Lucky Dog use minimum everyday stage props, joke spectacles and moustaches and straw-plaited doll wigs – and of course balloons – to keep us within the light-hearted charming world of the film essentially made for children and the humour inevitably springs from their use and mis-use.
The short film Le Ballon Rouge (The Red Balloon) was made in 1956 by the film maker AlbertLamorisse and featured his own children Pascal and Sabine in the main roles. Filmed in a romantic and shattered post-war Paris it is the tale of a young boy befriended by a red balloon which takes on a will of its own and follows Pascal through the streets, on the bus and into school. The metaphor of hope is clear from the start as the brightly coloured red balloon contrasts with the grey exterior of a war-ravaged city. Inevitably perhaps the forces of evil (other street boy gangs) set out to destroy Pascal’s other-worldy friend and as the film comes to its sad climax with the boys destroying the balloon with one slingshot, miraculously all the balloons of Paris release themselves from children and balloon sellers and gather to be with Pascal mourning his lost ‘friend’. As he grasps their strings, the balloons carry the boy up above the ruins of the city, bringing an almost religious message of hope and redemption.
With such a simple tale it would be easy to overlook the skill of the writing of taking a film with almost no dialogue (the teacher shouting “Silence!” at his unruly pupils is the only line of dialogue in the original film!) to a stage show requiring a narrative. But in the hands of Lucky Dog this is easily realised and we are guided through the story with ease.
Lucky Dog duo knew they were handling a classic so their take on it employs their charming double-act rivalry to place us firmly in the theatre and not necessarily out on the streets of post-war Paris. This is no sleight of hand as the charm of the story itself is compounded by our own compassion towards their ineptitude getting the show moving. Throughout the show one character will refuse to don a wig to represent the little girl in the film (who befriends Pascal and her blue equivalent balloon) and on other occasions an inappropriate prop will only add to the mayhem. There is a lovely duality between these two and their tetchiness and undermining tactics employed on each other are very funny indeed. At times this seems like a show within a show where we are focussed on them rather than the story itself. A familiar theatrical ploy but here used with ease and poise.
Supported by sounds masterminded by Aaron Clapp, Lucky Dog use minimum everyday stage props, joke spectacles and moustaches and straw-plaited doll wigs – and of course balloons – to keep us within the light-hearted charming world of the film essentially made for children and the humour inevitably springs from their use and mis-use.
JACK THE RIPPER: FACTS, NO FICTION (Barnstaple Fringe Review, 30th June 2018)
An extremely informative A+ Performance. Everything you would expect from someone with his knowledge. Brilliant and hugely entertaining - a real scholar whose knowledge of the case was evident throughout. Great show. Don't miss it!
HATS OFF TO LAUREL AND HARDY (TheatreEddys Blog, 25th August 2017)
“Gee if I hadn’t seen you, I wouldn’t have recognized you.”
For any fan of Laurel and Hardy, that is just one of many lines that can still bring a nostalgic laugh — funny now as always. Standing before us are a pair of gents that are eerily duplicates in so many ways of the two who began their crazy antics on films before sound and continued even into the early days of television. There is Ollie twisting his tie, Stan with his rubbery face, and the two doing their derby switches followed by the inevitable pile-up on the floor of so many twisted arms and legs that it is hard to believe each only has two of each in the mash-up. Just minutes into Hats Off to Laurel and Hardy — a 2013 play by Philip Hutchinson that has crossed many international borders performing to sell-out audiences — and already the audience is guffawing in laughter and shaking their heads in adoration in ways audiences have for a century.
Tony Carpenter as Stan Laurel and Philip Hutchinson as Oliver Hardy recreate the life stories of these two partners attached as one entity to each other, on and off stage. We hear of their shaky beginnings, meteoric rise to international fame, marriages successful and marriages disastrous, stardom on stages and on screen, their slow declines in health and well-being, and their remarkable abilities to rise as a combined Phoenix time and again up until the very end. But better yet, the two actors recreate both on live stage and in projected film clips a number of the pairs’ most famous skits, complete with the gestures and grimaces that still bring smiles, chuckles, and outright laughter whether being seen for the first or the hundredth time. Hats off to Messieurs Carpenter and Hutchinson for a fabulous Hats Off to Laurel and Hardy. *****
For any fan of Laurel and Hardy, that is just one of many lines that can still bring a nostalgic laugh — funny now as always. Standing before us are a pair of gents that are eerily duplicates in so many ways of the two who began their crazy antics on films before sound and continued even into the early days of television. There is Ollie twisting his tie, Stan with his rubbery face, and the two doing their derby switches followed by the inevitable pile-up on the floor of so many twisted arms and legs that it is hard to believe each only has two of each in the mash-up. Just minutes into Hats Off to Laurel and Hardy — a 2013 play by Philip Hutchinson that has crossed many international borders performing to sell-out audiences — and already the audience is guffawing in laughter and shaking their heads in adoration in ways audiences have for a century.
Tony Carpenter as Stan Laurel and Philip Hutchinson as Oliver Hardy recreate the life stories of these two partners attached as one entity to each other, on and off stage. We hear of their shaky beginnings, meteoric rise to international fame, marriages successful and marriages disastrous, stardom on stages and on screen, their slow declines in health and well-being, and their remarkable abilities to rise as a combined Phoenix time and again up until the very end. But better yet, the two actors recreate both on live stage and in projected film clips a number of the pairs’ most famous skits, complete with the gestures and grimaces that still bring smiles, chuckles, and outright laughter whether being seen for the first or the hundredth time. Hats off to Messieurs Carpenter and Hutchinson for a fabulous Hats Off to Laurel and Hardy. *****
MR MERRICK, THE ELEPHANT MAN (Jeff Thomson, Surrey Advertiser, 28th July 2017)
On Sunday I joined a modest, but appreciative, audience at The Keep public house for a performance of MR MERRICK, THE ELEPHANT MAN - A small budget play, but with a larger ambition. Joseph Merrick was horribly afflicted by neurofibromatosis, which malformed his head and much of his body. In Victorian times, the explanation for such deformity was explained away by his pregnant mother's frightening encounter with an elephant.
Merrick became an exhibit in a freak show.
His story has been told in a variety of creative ways. At The Keep, Lucky Dog Theatre Productions stripped away sentimentality and presented a facted story that revealed indifference, ridicule, and heart-warming compassion.
If I thought the staging, on this occasion, was too complex for the location, the characterisation of the two main players, Merrick (Tony Carpenter) and his doctor Frederick Treves (Philip Hutchinson), compensated.
The immediacy of Fringe productions can be exposing but even (very) close-up, these two actors offered sincerity and conviction. It was affecting stuff. Merrick died at the age of 27 from a dislocated neck.
Merrick became an exhibit in a freak show.
His story has been told in a variety of creative ways. At The Keep, Lucky Dog Theatre Productions stripped away sentimentality and presented a facted story that revealed indifference, ridicule, and heart-warming compassion.
If I thought the staging, on this occasion, was too complex for the location, the characterisation of the two main players, Merrick (Tony Carpenter) and his doctor Frederick Treves (Philip Hutchinson), compensated.
The immediacy of Fringe productions can be exposing but even (very) close-up, these two actors offered sincerity and conviction. It was affecting stuff. Merrick died at the age of 27 from a dislocated neck.
HATS OFF TO LAUREL AND HARDY (Keith Savage, Buxton Fringe Review, 18th July 2017)
This show was warmly received last year and you can see why. Stan Laurel and Oliver Hardy are remembered with affection - even by those who have seen few of their films and know them through just a handful of images or catchphrases. This show is a straightforward narrative biography and we learn something of their origins, how they met and their careers developed; we are told about their marriages, health problems and high points and low points in their professional and personal lives.
Naturally we get to see and hear some of their gags and routines - some done live in front of us and others recreated on black and white film. Even though we know what is going to happen we still laugh - and you imagine that for as long as there is an audience the laughs will continue because this humour is timeless.
If there are secrets to their success one is about timing - and with Laurel and Hardy it is as much about holding on just a fraction of a second so that the value of the payoff is multiplied because we have had to wait that moment. The other trick is that no matter how Stan and Ollie treat each other, no matter what they say to one another we know that they are the greatest of pals, they are inseparable. Their love for each other makes us love them too.
This love inevitably led to the profoundest sense of loss when Oliver Hardy died; in a way Stan died then because he depended so much on Ollie. It was as though they were a single person. This pathos was very well played out in the show which in other less sensitive hands would simply have plundered the comedy routines.
You would have to have a heart of stone not to be moved by Hats Off to Laurel and Hardy.
Naturally we get to see and hear some of their gags and routines - some done live in front of us and others recreated on black and white film. Even though we know what is going to happen we still laugh - and you imagine that for as long as there is an audience the laughs will continue because this humour is timeless.
If there are secrets to their success one is about timing - and with Laurel and Hardy it is as much about holding on just a fraction of a second so that the value of the payoff is multiplied because we have had to wait that moment. The other trick is that no matter how Stan and Ollie treat each other, no matter what they say to one another we know that they are the greatest of pals, they are inseparable. Their love for each other makes us love them too.
This love inevitably led to the profoundest sense of loss when Oliver Hardy died; in a way Stan died then because he depended so much on Ollie. It was as though they were a single person. This pathos was very well played out in the show which in other less sensitive hands would simply have plundered the comedy routines.
You would have to have a heart of stone not to be moved by Hats Off to Laurel and Hardy.
BETHNAL GREEN (Jayne Marling, Buxton Fringe Review, 16th July 2017)
This production tells the story of the Bethnal Green deep shelter tragedy which happened on 3rd of March 1943. It was the worst civilian disaster of WW2 and the country as a whole knew nothing about it at the time.
The way the audience was brought into the room was an excellent device to set the mood and atmosphere. From the moment we entered through the door we got a sense of what it was like in those shelters.
The story is told mainly through survivor testimony. Tony Carpenter and Philip Hutchinson play the ARP wardens and every other character in the play. Through a change of hat or addition of a scarf the characters tell their personal stories of what happened on that dreadful night. By the time Tony Carpenter was telling the nurse’s story all that really mattered was hearing what the next person had to say. It was heart-breaking stuff.
I think that a modern audience will naturally draw parallels to the Hillsborough disaster and the injuries inflicted there. The testimonies of the Bethnal Green survivors are chillingly similar to those statements given in court by the survivors of the football tragedy when talking about how those around them died.
This is an interesting and powerful story that offers a chilling insight into the events of 3rd March 1943, and of how a Government acted in a time of crisis for the good of the nation as a whole.
The way the audience was brought into the room was an excellent device to set the mood and atmosphere. From the moment we entered through the door we got a sense of what it was like in those shelters.
The story is told mainly through survivor testimony. Tony Carpenter and Philip Hutchinson play the ARP wardens and every other character in the play. Through a change of hat or addition of a scarf the characters tell their personal stories of what happened on that dreadful night. By the time Tony Carpenter was telling the nurse’s story all that really mattered was hearing what the next person had to say. It was heart-breaking stuff.
I think that a modern audience will naturally draw parallels to the Hillsborough disaster and the injuries inflicted there. The testimonies of the Bethnal Green survivors are chillingly similar to those statements given in court by the survivors of the football tragedy when talking about how those around them died.
This is an interesting and powerful story that offers a chilling insight into the events of 3rd March 1943, and of how a Government acted in a time of crisis for the good of the nation as a whole.
BETHNAL GREEN (Jeff Thomson, Surrey Advertiser, 14th July 2017)
Fringe is an opportunity to offer the original, the quirky or the unusual. With Lucky Dog's production at the Keep we had all three. The production was an immersive, claustrophobic experience of wailing sirens, sudden blackouts and torches illuminating terrifying eye-witness accounts. Related by two actors it was raw, emotional work. It was Fringe.
HATS OFF TO LAUREL AND HARDY (Barnstaple TheatreFest Review, 2nd July 2017)
The slapstick opening is suitably reminiscent of our favourite comedy duo, Laurel & Hardy, and sets the scene for a comedic, yet poignant, show.
I enjoyed the style of self-aware storytelling, as there was no separation between the characters themselves and the narrators, and it was very interesting to gain an insight into the lives of this well-known double act. Both the ups and downs of their lives were depicted, from their humble beginnings to their rise to fame to their illnesses and deaths.
The ‘behind-the-scenes’ issues were especially insightful, of course being the lesser known parts of Laurel and Hardy’s life. We learn not just of how Laurel & Hardy built up their ‘tricks of the trade’, but also of their troubles in their personal lives.
The development of their craft through the process of watching and learning interested me, despite not having grown up watching them, and has inspired me to discover more about the lives of these two entertainers.
I enjoyed the style of self-aware storytelling, as there was no separation between the characters themselves and the narrators, and it was very interesting to gain an insight into the lives of this well-known double act. Both the ups and downs of their lives were depicted, from their humble beginnings to their rise to fame to their illnesses and deaths.
The ‘behind-the-scenes’ issues were especially insightful, of course being the lesser known parts of Laurel and Hardy’s life. We learn not just of how Laurel & Hardy built up their ‘tricks of the trade’, but also of their troubles in their personal lives.
The development of their craft through the process of watching and learning interested me, despite not having grown up watching them, and has inspired me to discover more about the lives of these two entertainers.
BETHNAL GREEN (Ludlow Fringe Review, June 2017)
On the evening of the 3 March 1943 173 people were killed in a crush descending the steps hurrying into the London Underground station entrance at Bethnal Green in the East End of London. The East End of course had suffered the worst bombing of the blitz so the locals weren’t hanging around; the air raid siren had sounded and so people were taking shelter. A woman tripped up and in the ensuing crush 300 people got tangled up and many of the casualties died of suffocation.
The extraordinary aspect of this appalling tragedy was that, (despite it ultimately being the biggest civilian loss of life in the UK in the Second World War), the story was immediately hushed up and people were instantly sworn to secrecy as “careless talk costs lives” and the Government were keen to suppress any potential panic and preserve morale. The trauma of the events of that day festered within the Bethnal Green community for generations.
Lucky Dog do that simple (but brilliantly effective) technique of simply letting the facts speak for themselves within a dramatisation. This multi-tongued character-talented duo recite the testimonies of all those involved; the injured, the rescuers, the survivors, delivering each of the stories in turn with a straightforwardness and blandness which only accentuates the tragedy of each individual story. There’s a sense of Mass Observation archive material about the show which heightens its poignancy. These stories are the Real Thing, no embellishment is needed to picture the full horror and the full tragedy of what these people have seen and have to report.
Unfortunately recent events for us now in the 21st Century have echoes from the past in this wartime cover-up: the authorities then as now not wanting to spend money, safety measures deemed “unnecessary” and “a disaster waiting to happen” being a view expressed, then as now.
'Bethnal Green' is a timely, honourable, brilliant show using the source material with huge respect and presenting it using the simplest of methods; flashes and flashbacks, dark testimonies delivered in darkness, white noise testimony sounds obliterating truths. It’s a tour de force by both actors and a wonderfully moving and thought-provoking evening. *****
The extraordinary aspect of this appalling tragedy was that, (despite it ultimately being the biggest civilian loss of life in the UK in the Second World War), the story was immediately hushed up and people were instantly sworn to secrecy as “careless talk costs lives” and the Government were keen to suppress any potential panic and preserve morale. The trauma of the events of that day festered within the Bethnal Green community for generations.
Lucky Dog do that simple (but brilliantly effective) technique of simply letting the facts speak for themselves within a dramatisation. This multi-tongued character-talented duo recite the testimonies of all those involved; the injured, the rescuers, the survivors, delivering each of the stories in turn with a straightforwardness and blandness which only accentuates the tragedy of each individual story. There’s a sense of Mass Observation archive material about the show which heightens its poignancy. These stories are the Real Thing, no embellishment is needed to picture the full horror and the full tragedy of what these people have seen and have to report.
Unfortunately recent events for us now in the 21st Century have echoes from the past in this wartime cover-up: the authorities then as now not wanting to spend money, safety measures deemed “unnecessary” and “a disaster waiting to happen” being a view expressed, then as now.
'Bethnal Green' is a timely, honourable, brilliant show using the source material with huge respect and presenting it using the simplest of methods; flashes and flashbacks, dark testimonies delivered in darkness, white noise testimony sounds obliterating truths. It’s a tour de force by both actors and a wonderfully moving and thought-provoking evening. *****
MR MERRICK, THE ELEPHANT MAN (Ludlow Fringe Review, June 2017)
Ludlow was fortunate tonight, if it only but knew it. We had in our midst Lucky Dog Theatre, a talented duo of actors who brought us two shows worthy of any Independent theatre run. Real class.
We were treated firstly to a dramatisation of the sad final years of Joseph Merrick who was born in mid-Victorian London with severe deformities and rescued from a freak show by Frederick Treves. We know (at least those of us who saw John Hurt portray him so perfectly on film in The Elephant Man know) that Merrick is grotesque to look at and hard to understand In 'Mr Merrick, The Elephant Man' Merrick is played using clever minimal cheek padding to distort the face and achieve the vocal sound we expect from Merrick who is beautifully well-spoken but difficult to listen to This is one of the show’s great triumphs; to allow the audience to have Merrick clearly portrayed in their own imagination instead of accurately (but perhaps patronisingly), visually portrayed on stage.
Tony Carpenter as Merrick and Philip Hutchinson (also the author) as Treves gave supremely confident performances, both actors completely inhabiting their roles. Additional roles were played by others yet there were only ever two live actors on stage. Lucky Dog have perfected a method of introducing characters using filmed sequences projected life size onto a casual bedsheet backdrop. This is such a neat solution and wonderfully clever; at one point turning a lecture on Merrick’s deformities into a debate on the morality of “displaying “ him at the London Hospital using sequential filmed actors in costume.
The whole production was beautifully realised with note-perfect delivery on all fronts. Fabulous graphics and enhanced Victorian cinema footage with sound added made for a satisfying overall experience. The performances were all outstanding and really moving, mesmerisingly delivered. *****
We were treated firstly to a dramatisation of the sad final years of Joseph Merrick who was born in mid-Victorian London with severe deformities and rescued from a freak show by Frederick Treves. We know (at least those of us who saw John Hurt portray him so perfectly on film in The Elephant Man know) that Merrick is grotesque to look at and hard to understand In 'Mr Merrick, The Elephant Man' Merrick is played using clever minimal cheek padding to distort the face and achieve the vocal sound we expect from Merrick who is beautifully well-spoken but difficult to listen to This is one of the show’s great triumphs; to allow the audience to have Merrick clearly portrayed in their own imagination instead of accurately (but perhaps patronisingly), visually portrayed on stage.
Tony Carpenter as Merrick and Philip Hutchinson (also the author) as Treves gave supremely confident performances, both actors completely inhabiting their roles. Additional roles were played by others yet there were only ever two live actors on stage. Lucky Dog have perfected a method of introducing characters using filmed sequences projected life size onto a casual bedsheet backdrop. This is such a neat solution and wonderfully clever; at one point turning a lecture on Merrick’s deformities into a debate on the morality of “displaying “ him at the London Hospital using sequential filmed actors in costume.
The whole production was beautifully realised with note-perfect delivery on all fronts. Fabulous graphics and enhanced Victorian cinema footage with sound added made for a satisfying overall experience. The performances were all outstanding and really moving, mesmerisingly delivered. *****
BETHNAL GREEN (Sue Bradley, FringeReview, 27th May 2017)
A strange, unpleasant smell filled the air as we queued up for the show, with everyone pulling faces and trying to ascertain who, or what, was the culprit. We were then led into a blacked-out theatre by two unusually polite—by today’s standards—air raid wardens (Tony Carpenter and Philip Hutchinson), shining their torches and guiding us to our seats like a couple of militarised ushers, which help set the feel for the piece set in worn-torn London.
The smell, they revealed, came from the combination of camphor and chemical toilets that permanently permeated London’s shelters during World War II. Fortunately the offending odour was switched off after the explanation, but it was a very effective means of entering this subterranean lifestyle.
Carpenter and Hutchinson play numerous characters, from old ladies and little boys to government officials and nurses, through a series of costume changes as they relay real eyewitness accounts, building up different perspectives of the same incident, when 173 people were killed in a crush on the steps of Bethnal Green tube station during an air raid.
The performance is relentlessly grim, with descriptions of clumps of buttons, hair and bodies found on the stairs and the revelation that despite 15 funerals a day it took over a week and a half to bury all the victims. A recreation of those victims’ screams is played on a backing track, creating a harrowing and distressing mood.
There are obvious parallels to be drawn here with the 1989 Hillsborough disaster, with the initial blame being placed on the victims and the government and Winston Churchill-led cover up—it was deemed a civilian matter and poor for the nation’s morale, so hospital staff were told to shut up about it.
This is an important story that needs to be told.
The smell, they revealed, came from the combination of camphor and chemical toilets that permanently permeated London’s shelters during World War II. Fortunately the offending odour was switched off after the explanation, but it was a very effective means of entering this subterranean lifestyle.
Carpenter and Hutchinson play numerous characters, from old ladies and little boys to government officials and nurses, through a series of costume changes as they relay real eyewitness accounts, building up different perspectives of the same incident, when 173 people were killed in a crush on the steps of Bethnal Green tube station during an air raid.
The performance is relentlessly grim, with descriptions of clumps of buttons, hair and bodies found on the stairs and the revelation that despite 15 funerals a day it took over a week and a half to bury all the victims. A recreation of those victims’ screams is played on a backing track, creating a harrowing and distressing mood.
There are obvious parallels to be drawn here with the 1989 Hillsborough disaster, with the initial blame being placed on the victims and the government and Winston Churchill-led cover up—it was deemed a civilian matter and poor for the nation’s morale, so hospital staff were told to shut up about it.
This is an important story that needs to be told.
HATS OFF TO LAUREL AND HARDY (Brian Butler, GScene, 15th May 2017)
Tony Carpenter (Laurel) and Philip Hutchinson (Hardy) overcome the first big hurdle of a tribute show in Hats Off to Laurel and Hardy at the Sweet Waterfront – they actually look and sound like the originals.
Their characterisations are endearing and life-like and they add to this atmosphere by projecting black and white film of their versions of some of the comedy duo’s best moments.
My particular favourite, when I was a child, was The Music Box – where they repeatedly try to move an upright piano up an impossibly steep flight of outdoor steps. Their reproduction of that film is truly side-splitting. These elements of the show work really well along with some snappy to-ing and fro-ing in their live dialogue. We get some terrific one-liners, as in : “If I hadn’t have seen you , I wouldn’t have recognised you”. They hated being on TV’s This is Your Life at the end of their careers and as Stan says: “we didn’t even get paid”.
What the historical analysis does yield are facts about them that we probably don’t know – their origins, the fact that Stan was a terrific director and writer and hated acting – except with Ollie. Or that Ollie was unhappy all his life with his weight – “People all over the world were laughing at the fat man – I hate being fat”. I hadn’t realised how often they did stage and variety shows in England and Europe largely because of impresario Bernard Delfont.
Their sad decline and serious illnesses cast a dark cloud in the last fifteen minutes of the show, but in a touching little scene they are reunited in death. As a final voice-over says “God Bless All Clowns".
Their characterisations are endearing and life-like and they add to this atmosphere by projecting black and white film of their versions of some of the comedy duo’s best moments.
My particular favourite, when I was a child, was The Music Box – where they repeatedly try to move an upright piano up an impossibly steep flight of outdoor steps. Their reproduction of that film is truly side-splitting. These elements of the show work really well along with some snappy to-ing and fro-ing in their live dialogue. We get some terrific one-liners, as in : “If I hadn’t have seen you , I wouldn’t have recognised you”. They hated being on TV’s This is Your Life at the end of their careers and as Stan says: “we didn’t even get paid”.
What the historical analysis does yield are facts about them that we probably don’t know – their origins, the fact that Stan was a terrific director and writer and hated acting – except with Ollie. Or that Ollie was unhappy all his life with his weight – “People all over the world were laughing at the fat man – I hate being fat”. I hadn’t realised how often they did stage and variety shows in England and Europe largely because of impresario Bernard Delfont.
Their sad decline and serious illnesses cast a dark cloud in the last fifteen minutes of the show, but in a touching little scene they are reunited in death. As a final voice-over says “God Bless All Clowns".
HATS OFF TO LAUREL AND HARDY (Simon Topping, The Reviews Hub, 13th May 2017)
Oliver Hardy (Philip Hutchinson) looks to start the show but cannot as he is being heckled from the back of the room. We soon find out it is Stan Laurel (Tony Carpenter) doing the barracking and Hardy goes to confront him. This is the start to Hats Off to Laurel and Hardy, a loving tribute to the comedic duo, telling the story of their lives.
What is immediately noticeable to the crowd is how strikingly close Carpenter looks to his character. It is uncanny, but we have no time to take this in fully, the story comes at us at a pace, there is a lot of information to digest in a short time.
Both physically embody their subjects well and we are treated to several routines of fabulously timed group movement pieces and synchronised speech that are cleverly done and funny to watch.
The low-budget remakes of some of the sketches projected on a big screen for us are charming, if not fully satisfying. The show is touching in places, but, although there are plenty of laughs throughout the play, there are no full-bodied guffaws.
The biggest impression of the feeling among the audience, as we leave the room, is of the need to rediscover the Laurel and Hardy classics for ourselves again. Which is a fitting tribute to the show.
What is immediately noticeable to the crowd is how strikingly close Carpenter looks to his character. It is uncanny, but we have no time to take this in fully, the story comes at us at a pace, there is a lot of information to digest in a short time.
Both physically embody their subjects well and we are treated to several routines of fabulously timed group movement pieces and synchronised speech that are cleverly done and funny to watch.
The low-budget remakes of some of the sketches projected on a big screen for us are charming, if not fully satisfying. The show is touching in places, but, although there are plenty of laughs throughout the play, there are no full-bodied guffaws.
The biggest impression of the feeling among the audience, as we leave the room, is of the need to rediscover the Laurel and Hardy classics for ourselves again. Which is a fitting tribute to the show.
JACK THE RIPPER: FACTS, NO FICTION (John Roberts, Guildford Fringe Review, July 2015)
Tonight I saw Philip Hutchinson present Jack the Ripper: Facts, No Fiction at the Keep. A truly memorable experience. So rewarding to experience someone who truly knows their subject inside out and that is both entertaining and informative. For me I also liked the fact that Philip did not try and tell us who the Ripper was but importantly that in all probability we will never know the identity of Jack - but he did logically show why it was not the suspects the audience raised. If you get the chance and are interested in the Ripper murders I would recommend you see his show or attend one of his tours. Thanks Philip for a great evening.
MR MERRICK, THE ELEPHANT MAN (Stephen Walker, FringeGuru, 14th July 2015)
The story of Joseph Merrick is a familiar one. It’s been told many times on stage – and most famously in the film The Elephant Man, when Merrick was portrayed by John Hurt. However, this production argues, all those accounts are at least partly fictional; so this new script sets great store by strict historical accuracy, and the support of Merrick ’s biographer.
This pursuit of veracity sees the play embark on a chronological run-through of Merrick’s life, from his first meeting with his doctor, Frederick Treves, to his unexpected death. The opening scene is highly effective: the initial consultation enables a natural-seeming discussion of Merrick’s medical condition, his family history, and the story of his freak-show days. It takes us through the remaining events of Merrick’s life – including his return to the freak-shows and abandonment in Belgium, his rescue by Treves, and the charitable donations and friends in high places that finally gave him a comfortable life.
The best aspects of the play are the strong performances from Tony Carpenter and Philip Hutchinson. I was pleased to discover that Merrick’s deformities were not represented by any prosthetics: instead, Carpenter characterises Merrick’s physical problems with physical acts, his face contorted, his arm held stiffly and each movement awkwardly performed. It’s entirely convincing and maintained throughout, and the lack of distracting prosthetics enables the audience to see the humanity behind Carpenter’s performance – evoked with a humility that disguises a firm will.
As Treves, Philip Hutchinson (who is also the playwright) subtly conveys decency and good sense, half-hidden behind a brusque manner and bustling practicality.
As a straightforward biography then, Mr Merrick can be judged a success: the acting is excellent and we learn much more about his life, especially his relationship with the kindly but patriarchal Treves. It’s possible though that loosening the strictures of sticking to established facts, the play could imagine more effectively what it was like to inhabit Merrick’s world.
This pursuit of veracity sees the play embark on a chronological run-through of Merrick’s life, from his first meeting with his doctor, Frederick Treves, to his unexpected death. The opening scene is highly effective: the initial consultation enables a natural-seeming discussion of Merrick’s medical condition, his family history, and the story of his freak-show days. It takes us through the remaining events of Merrick’s life – including his return to the freak-shows and abandonment in Belgium, his rescue by Treves, and the charitable donations and friends in high places that finally gave him a comfortable life.
The best aspects of the play are the strong performances from Tony Carpenter and Philip Hutchinson. I was pleased to discover that Merrick’s deformities were not represented by any prosthetics: instead, Carpenter characterises Merrick’s physical problems with physical acts, his face contorted, his arm held stiffly and each movement awkwardly performed. It’s entirely convincing and maintained throughout, and the lack of distracting prosthetics enables the audience to see the humanity behind Carpenter’s performance – evoked with a humility that disguises a firm will.
As Treves, Philip Hutchinson (who is also the playwright) subtly conveys decency and good sense, half-hidden behind a brusque manner and bustling practicality.
As a straightforward biography then, Mr Merrick can be judged a success: the acting is excellent and we learn much more about his life, especially his relationship with the kindly but patriarchal Treves. It’s possible though that loosening the strictures of sticking to established facts, the play could imagine more effectively what it was like to inhabit Merrick’s world.
MR MERRICK, THE ELEPHANT MAN (George Chapman, Barnstaple TheatreFest Review, July 2015)
Mr Merrick, The Elephant Man is a Lucky Dog Theatre production that tells the true story of Joseph Carey Merrick and his relationship with his doctor Frederick Treves.
Through the course of the show the two skilful performers generate a powerful emotional response in their audience without ever becoming too elaborate or over dramatic, in fact the more subdued approach makes the unfolding drama seem more genuine because they allow the real tragedy to shine through. It is this sense of authenticity that makes The Elephant Man particularly effective.
It is not just the performances that shine; props help paint the picture of Mr Merrick's life, the sound track immerses the audience in the Victorian world and the creative use of a projector brings a great deal of character development.
Mr Merrick, The Elephant Man could be considered one of the finest pieces of theatre that Theatrefest has to offer.
Through the course of the show the two skilful performers generate a powerful emotional response in their audience without ever becoming too elaborate or over dramatic, in fact the more subdued approach makes the unfolding drama seem more genuine because they allow the real tragedy to shine through. It is this sense of authenticity that makes The Elephant Man particularly effective.
It is not just the performances that shine; props help paint the picture of Mr Merrick's life, the sound track immerses the audience in the Victorian world and the creative use of a projector brings a great deal of character development.
Mr Merrick, The Elephant Man could be considered one of the finest pieces of theatre that Theatrefest has to offer.
MR MERRICK, THE ELEPHANT MAN (Paul Levy, FringeReview, 29th May 2015)
Lucky Dog, the company that has been touring successfully for the past couple of years with Hats Off to Laurel and Hardy have, once again, delved into history, done their research, and offered it back to us in a very direct way.
This is the story of Joseph Merrick and his time at the London Hospital under the kind care of surgeon Frederick Treves, who takes on the task of looking after a man whom many cannot bear to look at, who is hidden from sight, experiences aching loneliness and eventually his deformity proves his end. The story is well known. You’ve probably seen the film. What Lucky Dog have done is strip away the Hollywood and presented a simple, bare interpretation that allows Merrick’s personality and his own very human gentleness to emerge before us.
Philip Hutchinson plays a Treves as the facilitator of Merrick, one who tries to meet his needs, but also interprets them and filters them in terms of the society of the time. Merrick is "hideous" to Victorian society, and yet this is a tale of the terrible dynamic between locking the man away from the gaze of others, and taking the risks of giving him space to move and to meet others. Simple things become important, valuable, essential – a gramophone, framed pictures and letters – letters that allow us to connect without the complication of visual meeting- surely a relevant metaphor for today’s texting and social media culture?
Merrick is the Elephant Man, rescued by Treves from a life as a circus exhibit, taken into care that is a double edged sword – a place of safety and a place of lonely isolation. Tony Carpenter is Merrick and uses no CGI effects or clever make-up to create the horror of the man others recoil from when they behold him. It’s a brilliant study in imagined character. We have here the tears of the clown, a melancholy gentleness and a sense of held in pain and anguish. Carpenter is wholly believable as Merrick. Carpenter uses physicality, in face, in hands, in bodily movement extremely well.
This was only the second time the show had played and there’s a need to refine the pacing in parts. Sometimes to the narrative unfolds too slowly and the atmosphere lulls in the wrong way. Yes, this is a bold production that doesn’t hurry and, for the most part, hold the attention strongly.
The core strengths of this new production from Lucky Dog are the central performance of Carpenter as Merrick, the courage to give us a shockingly direct encounter with Merrick and his time at the London Hospital and the engaging simplicity of the script which is economically written and rooted in Hutchinson’s usual top drawer research. It’s a unique bit of theatre at the Fringe, hidden away at the Werks Central Studio in an intimate and wonderfully silent space. Almost every minute of it focuses on the man. And that, ultimately is what Merrick was – not The Elephant Man, but a man.
This is the story of Joseph Merrick and his time at the London Hospital under the kind care of surgeon Frederick Treves, who takes on the task of looking after a man whom many cannot bear to look at, who is hidden from sight, experiences aching loneliness and eventually his deformity proves his end. The story is well known. You’ve probably seen the film. What Lucky Dog have done is strip away the Hollywood and presented a simple, bare interpretation that allows Merrick’s personality and his own very human gentleness to emerge before us.
Philip Hutchinson plays a Treves as the facilitator of Merrick, one who tries to meet his needs, but also interprets them and filters them in terms of the society of the time. Merrick is "hideous" to Victorian society, and yet this is a tale of the terrible dynamic between locking the man away from the gaze of others, and taking the risks of giving him space to move and to meet others. Simple things become important, valuable, essential – a gramophone, framed pictures and letters – letters that allow us to connect without the complication of visual meeting- surely a relevant metaphor for today’s texting and social media culture?
Merrick is the Elephant Man, rescued by Treves from a life as a circus exhibit, taken into care that is a double edged sword – a place of safety and a place of lonely isolation. Tony Carpenter is Merrick and uses no CGI effects or clever make-up to create the horror of the man others recoil from when they behold him. It’s a brilliant study in imagined character. We have here the tears of the clown, a melancholy gentleness and a sense of held in pain and anguish. Carpenter is wholly believable as Merrick. Carpenter uses physicality, in face, in hands, in bodily movement extremely well.
This was only the second time the show had played and there’s a need to refine the pacing in parts. Sometimes to the narrative unfolds too slowly and the atmosphere lulls in the wrong way. Yes, this is a bold production that doesn’t hurry and, for the most part, hold the attention strongly.
The core strengths of this new production from Lucky Dog are the central performance of Carpenter as Merrick, the courage to give us a shockingly direct encounter with Merrick and his time at the London Hospital and the engaging simplicity of the script which is economically written and rooted in Hutchinson’s usual top drawer research. It’s a unique bit of theatre at the Fringe, hidden away at the Werks Central Studio in an intimate and wonderfully silent space. Almost every minute of it focuses on the man. And that, ultimately is what Merrick was – not The Elephant Man, but a man.
HATS OFF TO LAUREL AND HARDY (Dan Webber, Downstage Centre, 26th July 2014)
Currently being redeveloped, The Pavilion is a crumbling Music Hall of old, steeped in history - like many of the venues Stan and ‘Babe’ Oliver would have visited during their time. With cabaret style seating (cleverly incorporating Stan Laurel’s first appearance), and simple set, Laurel and Hardy rose once again to entertain the crowd for one night only.
‘Hats Off To Laurel and Hardy’ is billed as ‘the true story’ of Stan Laurel and Oliver Hardy, and from the outset, it is clear these boys have done their homework.
Philip Hutchinson’s Hardy is spot on, every tie flick and slow burn bringing a smile to the face, and Tony Carpenter captures brilliantly Stanley’s vacant expression. The two of them together are a joy to watch as they portray a myriad of characters, including Stan and Oliver’s onstage and off-stage personas.
The warmth and strength of this production comes from the relationship between the two men, and indeed the two actors portraying them.
The information comes thick and fast as the years whizz by. All the iconic comedy moments are recreated on stage and through the use of projection, but it is the scenes depicting the two men, not their characters, which steal the show. The Boat Trip to Ireland scene in the second Act is worth the admission fee alone.
The warmth and strength of this production comes from the relationship between the two men, and indeed the two actors portraying them. Stan and Ollie’s friendship and shared experiences are highlighted beautifully by the use of choral speaking and there is a clear trust and respect being demonstrated on stage.
In the final twenty minutes, Carpenter shines as the older, lonelier Stan Laurel. Aged 74 and sat behind his typewriter, the admission that he still writes sketches for himself and Oliver, knowing they will never be performed, is poignant and heartbreaking, marred only slightly by the typical ‘Hollywood’ style ending to the piece.
The video tribute to both performers and the fan-club song encore round off what was an enjoyable and memorable evening at the theatre. I would love to see this production picked up by a Derby or Nottingham venue, and encourage anyone to see it if they have the chance.
Hats off to Laurel and Hardy, and hats off to Lucky Dog Theatre Productions.
‘Hats Off To Laurel and Hardy’ is billed as ‘the true story’ of Stan Laurel and Oliver Hardy, and from the outset, it is clear these boys have done their homework.
Philip Hutchinson’s Hardy is spot on, every tie flick and slow burn bringing a smile to the face, and Tony Carpenter captures brilliantly Stanley’s vacant expression. The two of them together are a joy to watch as they portray a myriad of characters, including Stan and Oliver’s onstage and off-stage personas.
The warmth and strength of this production comes from the relationship between the two men, and indeed the two actors portraying them.
The information comes thick and fast as the years whizz by. All the iconic comedy moments are recreated on stage and through the use of projection, but it is the scenes depicting the two men, not their characters, which steal the show. The Boat Trip to Ireland scene in the second Act is worth the admission fee alone.
The warmth and strength of this production comes from the relationship between the two men, and indeed the two actors portraying them. Stan and Ollie’s friendship and shared experiences are highlighted beautifully by the use of choral speaking and there is a clear trust and respect being demonstrated on stage.
In the final twenty minutes, Carpenter shines as the older, lonelier Stan Laurel. Aged 74 and sat behind his typewriter, the admission that he still writes sketches for himself and Oliver, knowing they will never be performed, is poignant and heartbreaking, marred only slightly by the typical ‘Hollywood’ style ending to the piece.
The video tribute to both performers and the fan-club song encore round off what was an enjoyable and memorable evening at the theatre. I would love to see this production picked up by a Derby or Nottingham venue, and encourage anyone to see it if they have the chance.
Hats off to Laurel and Hardy, and hats off to Lucky Dog Theatre Productions.
HATS OFF TO LAUREL AND HARDY (Jennie Slevin, Reading Post, 21st July 2014)
Arthur Stanley Jefferson (Stan) and Norvell Hardy (Ollie) are arguably the best loved comedy duo of all time. Their work has inspired hundred of comics and they made more people laugh than they ever felt possible.
Now they’re back to tell the story of how they met and the 30 or so years they worked together, well when I say “they’re” I mean Tony Carpenter and Philip Hutchinson, who perfectly embody the pair. The thoughtful and often touching performance guides the audience through the pair’s early lives, first as individuals and then as a partnership. It details their commitment to their work, the appreciation of their fans, the love of their wives (both remarried several times) and their never-ending devotion to each other.
Stan Laurel, born in Lancashire in 1890, rose to fame after touring America with Charlie Chaplin. It was here he began making films and shot 50 before even meeting his slightly larger American counterpart Hardy.
It’s clear from this biopic why Laurel and Hardy have been so well loved for so long. The pioneering pair’s slapstick humour has been reinvented time after time but it’s impossible to forget their piano-lugging, hat-wearing, pie-smashing antics. Expect recreated highlights from their work, accompanied by a little singing and some questionable dancing. At two hours, with an interval, the show is quite long for fringe. However, the performance is funny, insightful and charming and, I have to admit, the characters were so superbly recreated I felt myself welling up at the end.
Now they’re back to tell the story of how they met and the 30 or so years they worked together, well when I say “they’re” I mean Tony Carpenter and Philip Hutchinson, who perfectly embody the pair. The thoughtful and often touching performance guides the audience through the pair’s early lives, first as individuals and then as a partnership. It details their commitment to their work, the appreciation of their fans, the love of their wives (both remarried several times) and their never-ending devotion to each other.
Stan Laurel, born in Lancashire in 1890, rose to fame after touring America with Charlie Chaplin. It was here he began making films and shot 50 before even meeting his slightly larger American counterpart Hardy.
It’s clear from this biopic why Laurel and Hardy have been so well loved for so long. The pioneering pair’s slapstick humour has been reinvented time after time but it’s impossible to forget their piano-lugging, hat-wearing, pie-smashing antics. Expect recreated highlights from their work, accompanied by a little singing and some questionable dancing. At two hours, with an interval, the show is quite long for fringe. However, the performance is funny, insightful and charming and, I have to admit, the characters were so superbly recreated I felt myself welling up at the end.
HATS OFF TO LAUREL AND HARDY (Julie Howell, LoveFringe, 22nd May 2014)
This isn't a sloppy Laurel and Hardy tribute act cynically knocked up to exploit the ongoing thirst for nostalgia. This is an homage to Stan and Ollie that has been developed and is delivered with an extraordinary degree of tender loving care. Hutchinson has crafted a show that delivers both the warming familiarity of childhood (which is when most of us first encounter Laurel and Hardy) tempered by aching sadness that two people who gave so much joy to the world should not experience the personal comforts or security that they truly deserved. Both Hutchinson and Carpenter get it so right with light touches that avoid impersonation but bring Stan and Ollie into the room in a manner that is both authentic and at times deeply moving. This is a joyful play, punctuated with moments of genuine emotion. You will leave the theatre with a tear in your eye and yearning to rediscover the wonderful legacy of films that will continue to be loved for generations to come. And there's singing and dancing too. Don't miss this rare treat.
HATS OFF TO LAUREL AND HARDY (James Butler, LoveFringe, 21st May 2014)
Really enjoyed the show. It was an improvement on last years which I didn't think was possible. Tony and Philip were spot on with their heartfelt portrayals of the comic legends. I would highly recommend seeing the show!
HATS OFF TO LAUREL AND HARDY (Luca JH, Twitter, 18th May 2014)
Just back from Lucky Dog Theatre Production's Hats Off To Laurel And Hardy. I'm sentimental, but even so, wasn't expecting to be moved to tears. Great show!
HATS OFF TO LAUREL AND HARDY (Gareth Kavanagh, Twitter, 18th May 2014)
So much talent on display at Brighton Fringe . Hats Off To Laurel And Hardy alone puts Edinburgh Fringe in its' back pocket. New sheriff in town chaps. The Laurel and Hardy biopic was the best Fringe piece ever.
HATS OFF TO LAUREL AND HARDY (LittleTeaPig, Twitter, 18th May 2014)
Lucky Dog Theatre Productions at Brighton Fringe. What a show!! These guys WERE Laurel & Hardy! Amazing script, performances and was moved to tears. Just WOW!
HATS OFF TO LAUREL AND HARDY (Clifford Manny, LoveFringe, 12th May 2014)
I have been a fan of Laurel & Hardy since a child; a long time ago I loved their gentle humor,watching Tony Carpenter portraying Stan Laurel and Philip Hutchinson portraying (Babe) Oliver Hardy transported me back to those wonderful innocent days of comedy. In my mind the performance last night was the next best thing to meeting the comedy duo in person. I am not an overly emotional person but I had tears in my eyes at the end of the show last night. I would highly recommend to any fans. I am thinking of seeing their performance again, and for me to see something twice it must be very good!
HATS OFF TO LAUREL AND HARDY (Tig Land, FringeGuru, 11th May 2014)
Laurel and Hardy! I have been a fan of the famous duo since a very young age, and when I heard their familiar introductory music right at the start of this performance, I felt my face break into an anticipatory smile. Both Stan Laurel (Tony Carpenter) and 'Babe' Hardy (Philip Hutchinson) look just the parts, with their trademark outfits completed by the obligatory bowler hats.
The play took us through a potted history of their meteoric rise to fame, and out the other side until their deaths. Carpenter and Hutchinson use a variety of structures to entertain, including song-and-dance routines and old film footage. Highlights include a series of black & white re-enactments of some very famous scenes, which captured their audience fully. Any avid fan will remember the famous piano-moving sketch in The Music Box, and they also made a great job of recreating some well known dance sequences. I loved their faultless version of Blue Ridge Mountains of Virginia – so accurate that it was like watching the original pair in action.
Carpenter beautifully captured the facial mannerisms of Stan Laurel, with the toothless upturned smile and slightly-nodding head feeling so familiar. Hutchinson, meanwhile, ably encompassed the blundering and patronising stupidity associated with Hardy. All the different comedy techniques I remembered as a child were there: the pie throwing, tie flapping, crying and head scratching were all truly reminiscent of the two greats.
More than that, the actors' portrayal clearly conveys the devoted friendship that existed between the two comedians. They had a string of marriages between them and only found true love in later life – Laurel was 56 and almost penniless. They supported each other, and together survived a number of episodes where their personal lives were tinged with loss, sadness and death. I was curious to know more.
I would gladly have sacrificed the factual catalogue of the two men's film history to have learnt more about their marriages, and how both of them lost brothers to freak accidents. There were brief references to those deaths, one by drowning and one in a dentist's chair. But the poignancy of Hardy losing his brother at a young age was seemingly at the root of his overeating, and blighted him for the rest of his life. Hutchinson movingly recorded how hard it was to be “famous all over the world for the one thing you dislike the most about yourself.”
For all that I'd have liked to see a little more, throughout this excellent recapturing of the legendary double act, I was left without any doubts. Because of their obvious respect and care for each other – alongside their unerring working relationship – Laurel and Hardy were the real true love of each other's lives. A convincing production, and one to see.
The play took us through a potted history of their meteoric rise to fame, and out the other side until their deaths. Carpenter and Hutchinson use a variety of structures to entertain, including song-and-dance routines and old film footage. Highlights include a series of black & white re-enactments of some very famous scenes, which captured their audience fully. Any avid fan will remember the famous piano-moving sketch in The Music Box, and they also made a great job of recreating some well known dance sequences. I loved their faultless version of Blue Ridge Mountains of Virginia – so accurate that it was like watching the original pair in action.
Carpenter beautifully captured the facial mannerisms of Stan Laurel, with the toothless upturned smile and slightly-nodding head feeling so familiar. Hutchinson, meanwhile, ably encompassed the blundering and patronising stupidity associated with Hardy. All the different comedy techniques I remembered as a child were there: the pie throwing, tie flapping, crying and head scratching were all truly reminiscent of the two greats.
More than that, the actors' portrayal clearly conveys the devoted friendship that existed between the two comedians. They had a string of marriages between them and only found true love in later life – Laurel was 56 and almost penniless. They supported each other, and together survived a number of episodes where their personal lives were tinged with loss, sadness and death. I was curious to know more.
I would gladly have sacrificed the factual catalogue of the two men's film history to have learnt more about their marriages, and how both of them lost brothers to freak accidents. There were brief references to those deaths, one by drowning and one in a dentist's chair. But the poignancy of Hardy losing his brother at a young age was seemingly at the root of his overeating, and blighted him for the rest of his life. Hutchinson movingly recorded how hard it was to be “famous all over the world for the one thing you dislike the most about yourself.”
For all that I'd have liked to see a little more, throughout this excellent recapturing of the legendary double act, I was left without any doubts. Because of their obvious respect and care for each other – alongside their unerring working relationship – Laurel and Hardy were the real true love of each other's lives. A convincing production, and one to see.
HATS OFF TO LAUREL AND HARDY (Sascha Cooper, RemoteGoat, 11th May 2014)
A simple set awaited us as we entered the building waiting for the show to start. A bare stage with a table, a typewriter, wigs and more that were related to the delight that unfolded before our eyes which was 'Hats Off To Laurel And Hardy'.
Tony Carpenter (Stan Laurel) and Philip Hutchinson (Oliver Hardy) worked so well together that it was almost as if the real Laurel and Hardy were in the room entertaining us. But it wasn't any old show dedicated to the dynamic duo, but an inspirational biographical account of their lives with some reconstructed scenes from their film sequences. The way they used film and slapstick comedy on stage was not only smooth and slick with no jarring links, but it was engaging and so easy to follow. Even if you were not aware of this pair beforehand, each historical fact about them was simple to follow and was performed in a way that wasn't boring at all, which meant that everyone could enjoy learning about them through their style of comedy and not feel isolated by the whole experience. A genius touch which may seem straightforward, but to pull this off as an actor and writer takes dedication and passion, which Carpenter and Hutchinson pull off with flare and style.
As you watch, you can tell that Philip Hutchinson did a lot of painstaking research about Laurel and Hardy when he wrote this show. The amount of detail about them is vast, but he made sure that their lives were portrayed authentically - part of which is due to the fact that he did a lot of work with an historian dedicated to the pair to get it accurate. You can also tell that a lot of their comedy sequences were brilliantly studied to get them to the top quality standard we know them for. But we also learned a lot about the relationship between the two men - one snippet that will always stay with me is that Laurel was actually the genius behind a lot of the sketches behind the scenes and loved being involved with every single stage to make sure it was right, from the writing, to directing and producing the movies and shows. Hardy however was happy to perform, as long as it didn't interfere with his golf! Naturally the comedy was created from Laurel picking up on it and using it to his advantage to get the comedy gold we know today.
These little snippets and more you will expect from this fantastic show! Parents however might want to consider the fact this show does deal with sensitive issues on occasion, so it might not be suitable for very young children. Apart from that, do not miss the experience of a lifetime! Well done boys!
Tony Carpenter (Stan Laurel) and Philip Hutchinson (Oliver Hardy) worked so well together that it was almost as if the real Laurel and Hardy were in the room entertaining us. But it wasn't any old show dedicated to the dynamic duo, but an inspirational biographical account of their lives with some reconstructed scenes from their film sequences. The way they used film and slapstick comedy on stage was not only smooth and slick with no jarring links, but it was engaging and so easy to follow. Even if you were not aware of this pair beforehand, each historical fact about them was simple to follow and was performed in a way that wasn't boring at all, which meant that everyone could enjoy learning about them through their style of comedy and not feel isolated by the whole experience. A genius touch which may seem straightforward, but to pull this off as an actor and writer takes dedication and passion, which Carpenter and Hutchinson pull off with flare and style.
As you watch, you can tell that Philip Hutchinson did a lot of painstaking research about Laurel and Hardy when he wrote this show. The amount of detail about them is vast, but he made sure that their lives were portrayed authentically - part of which is due to the fact that he did a lot of work with an historian dedicated to the pair to get it accurate. You can also tell that a lot of their comedy sequences were brilliantly studied to get them to the top quality standard we know them for. But we also learned a lot about the relationship between the two men - one snippet that will always stay with me is that Laurel was actually the genius behind a lot of the sketches behind the scenes and loved being involved with every single stage to make sure it was right, from the writing, to directing and producing the movies and shows. Hardy however was happy to perform, as long as it didn't interfere with his golf! Naturally the comedy was created from Laurel picking up on it and using it to his advantage to get the comedy gold we know today.
These little snippets and more you will expect from this fantastic show! Parents however might want to consider the fact this show does deal with sensitive issues on occasion, so it might not be suitable for very young children. Apart from that, do not miss the experience of a lifetime! Well done boys!
HATS OFF TO LAUREL AND HARDY (Del Kempster [Sons Of The Desert Grand Sheik], 35th Laurel & Hardy UK Convention, Manchester, 3rd May 2014)
On Saturday 3rd May 2014 over 100 delegates at the annual UK Convention of the Sons of the Desert which took place in Manchester this year were privileged to see this play. They had all seen plays about the lives of Laurel & Hardy before, but not like this one. All too often, it seems writers are not too concerned about the accuracy of the facts when they try to tell the life story of a famous person; their main concern is to present an entertaining story, after all how many people would know the difference? Well, in this case many would certainly have known had there been any mistakes. It must have been a little nerve-racking for the actors to face such a discerning and knowledgeable audience. They need not have worried; the normally vociferous Sons gave the actors the ultimate compliment - their silence. They sat spellbound, not wanting to miss one word of this excellent production. The show is entertainingly funny and at times sad. Nobody could ever be as good as Laurel & Hardy themselves, but the lads who wrote and perform this play have certainly caught the right spirit and they thoroughly deserved the standing ovation they received. Not only has painstaking research about Stan and Ollie's lives and careers gone into this, but it is clear that the actors have great admiration and respect for their subjects. I just can not help thinking that Mr Laurel and Mr Hardy would have approved, so Hats Off to Philip and Tony.
HATS OFF TO LAUREL AND HARDY (Alex MacMillan, Bierkeller Theatre, Bristol, 6th April 2014)
Very many thanks for making the trip to us, and for a really enjoyable production. I think it will do fantastically on tour.
HATS OFF TO LAUREL AND HARDY (MM [Audience Member], Laurel And Hardy Museum, Ulverston, 24th November 2013)
The show was fantastic! What an innovative way to tell the story of Stan and Ollie with the clips interspersed in it. The reasons behind doing the play are great (I'm sure Stan and Ollie would approve!) and the ending, I think, left everyone in the audience with a lump in their throat - what a beautiful 'end' to the story.
Not only 'Hats Off To Laurel & Hardy' but 'hats off' to you both as well!
Not only 'Hats Off To Laurel & Hardy' but 'hats off' to you both as well!
HATS OFF TO LAUREL AND HARDY (KR [Audience Member], Seagull Theatre, Lowestoft, 10th october 2013)
Wow! It's all been said before in your reviews but - after seeing your show in Lowestoft last night - this (sole member in this town, I think) Son of the Desert must add a word of praise. The show was certainly 'one not to be missed'. I have seen many impersonations but NEVER a performance like this. It was like seeing them in the flesh, which I have been lucky enough to do; faithful, respectful, truthful... one runs out of words to express how perfect this was. What a treat. It was worth double/treble the price of admission. If it had been a double date, I would have returned on the following day. Very many thanks and good luck.
HATS OFF TO LAUREL AND HARDY (HP [Audience Member], Seagull Theatre, Lowestoft, 10th October 2013)
What a great show this was - a real 'tour de force' for Philip Hutchinson and Tony Carpenter in their tribute to Laurel and Hardy at the ‘Seagull’ Theatre in Pakefield (9 October). Both witty, and poignant - the two hours or so just flew by!
The show, incorporating its skilfully re-enacted 1930s-style black and white film clips (but featuring Philip and Tony), seriously deserves to ‘take wing’ and be seen all over the country.
The show, incorporating its skilfully re-enacted 1930s-style black and white film clips (but featuring Philip and Tony), seriously deserves to ‘take wing’ and be seen all over the country.
HATS OFF TO LAUREL AND HARDY (MB [Audience Member], Seagull Theatre, Lowestoft, 10th October 2013)
Absolutely first class show and you both brought back to life my all-time favourites from when I was a child ... thank you both for such an enjoyable evening.
HATS OFF TO LAUREL AND HARDY (John Hales, Seagull Theatre, Lowestoft, 10th October 2013)
It was a superb show - never doubted it would be.
HATS OFF TO LAUREL AND HARDY (RA [Audience Member], Heron Theatre, Beetham, 5th October 2013)
My wife and I were fortunate enough to be able to see 'Hats Off to Laurel & Hardy' last night at Beetham. I did not hear one word of criticism and that lack of complaint was well justified. Congratulations to Philip and Tony for an excellent performance which was educational, entertaining and eminently edifying for an evening out. The production contained everything from humour, pathos, sadness and hilarity and everyone concerned is to be congratulated on an excellent show. Many thanks for a great evening.
HATS OFF TO LAUREL AND HARDY (JD [Audience Member], Heron Theatre, Beetham, 5th October 2013)
The secret of the play's success is the magic combination of a brilliant piece of writing delivered by two characters who convince us that we WANT to listen to their story. Theatre at its best.
HATS OFF TO LAUREL AND HARDY (Mark Greenhow [The Laurel And Hardy Museum], Heron Theatre, Beetham, 6th October 2013)
Hats Off To Laurel And Hardy was written by Philip Hutchinson after he encountered problems touring the well known Tom McGrath play Laurel And Hardy. As a fan of the boys, and an actor, he had wanted to tour the play around small theatres and share their lives. Alas, it was not to be, but after researching the play and recognising that some of the information contained in it is out of date, he decided to write a new show, taking care to present the most accurate accounts he could find.
Philip had contacted the museum some time ago about his show and I was interested to see his results. When he told me that he was bringing it to Milnthorpe, wild horses couldn’t keep me away.
The theatre was the Heron Theatre; a very small, community run place in a small village, with an enthusiastic group of volunteers who attract a decent audience for their fortnightly show. I had reserved my ticket on the phone and was extremely embarrassed to find out that they don’t take credit cards on the door, but that’s another story.
The play begins with Stan in the audience waiting for the show to start, Ollie admonishes him and comments on how long it had been since they had last seen each other, Stan agrees and replies “do you remember how dumb I was? Well I’m better now..” So begins a short skit, inspired by Blockheads in which Ollie mistakenly believes Stan to have lost a leg in the war. Ollie carries Stan onto the stage and they begin to recount important events from their lives, in character, to the audience. Their may be a danger that this form of monologue could become slightly flat and boring, however Phillip and Tony intersperse the tales with more live skits, jokes and songs inspired by the films; along with fantastic pre recorded films which are a loving and accurate recreation of some of the best remembered scenes. A notable one being “Put ‘em up insect, before I comb your hair with lead”, a phrase which will bring a smile to many Laurel and Hardy fans as the boys first time on screen together. It’s a scene which works well, and the films which follow all show a high respect and admiration for their work.
Philip and Tony also pull of the characters nicely. Philip’s ‘Ollie’ successfully managing to stop short of making him seem like a bully, and Tony as Stan perfecting his blank look and trusting demeanor. The accents are good too, Stan’s Americanised Lancashire twang, and Oliver’s southern gentility both come across well.
The information they present is well pitched, there’s plenty of good stuff for the most fervent fan, while not being too in depth so as to put others off. I even learned a few things, and remembered others I’d either forgotten or not thought about for a while. I find it interesting to see how others interpret the information, things such as Laurel and Hardy’s marital histories could be shown in many ways but here it is presented nicely. Not shying away from the facts or sugar coating their problems, but neither did it seek to ‘dig the dirt’ and present our boys as monsters. The characters on stage had made mistakes along the way, had come to terms with them, and moved on.
All things considered, it is a worthy addition to the increasing depictions of our favourite comedians, I had a great night out and I’m very excited that we will be having the show at the museum in the near future. Hats Off To Laurel And Hardy will be at the Laurel and Hardy Museum at the end of November.
Philip had contacted the museum some time ago about his show and I was interested to see his results. When he told me that he was bringing it to Milnthorpe, wild horses couldn’t keep me away.
The theatre was the Heron Theatre; a very small, community run place in a small village, with an enthusiastic group of volunteers who attract a decent audience for their fortnightly show. I had reserved my ticket on the phone and was extremely embarrassed to find out that they don’t take credit cards on the door, but that’s another story.
The play begins with Stan in the audience waiting for the show to start, Ollie admonishes him and comments on how long it had been since they had last seen each other, Stan agrees and replies “do you remember how dumb I was? Well I’m better now..” So begins a short skit, inspired by Blockheads in which Ollie mistakenly believes Stan to have lost a leg in the war. Ollie carries Stan onto the stage and they begin to recount important events from their lives, in character, to the audience. Their may be a danger that this form of monologue could become slightly flat and boring, however Phillip and Tony intersperse the tales with more live skits, jokes and songs inspired by the films; along with fantastic pre recorded films which are a loving and accurate recreation of some of the best remembered scenes. A notable one being “Put ‘em up insect, before I comb your hair with lead”, a phrase which will bring a smile to many Laurel and Hardy fans as the boys first time on screen together. It’s a scene which works well, and the films which follow all show a high respect and admiration for their work.
Philip and Tony also pull of the characters nicely. Philip’s ‘Ollie’ successfully managing to stop short of making him seem like a bully, and Tony as Stan perfecting his blank look and trusting demeanor. The accents are good too, Stan’s Americanised Lancashire twang, and Oliver’s southern gentility both come across well.
The information they present is well pitched, there’s plenty of good stuff for the most fervent fan, while not being too in depth so as to put others off. I even learned a few things, and remembered others I’d either forgotten or not thought about for a while. I find it interesting to see how others interpret the information, things such as Laurel and Hardy’s marital histories could be shown in many ways but here it is presented nicely. Not shying away from the facts or sugar coating their problems, but neither did it seek to ‘dig the dirt’ and present our boys as monsters. The characters on stage had made mistakes along the way, had come to terms with them, and moved on.
All things considered, it is a worthy addition to the increasing depictions of our favourite comedians, I had a great night out and I’m very excited that we will be having the show at the museum in the near future. Hats Off To Laurel And Hardy will be at the Laurel and Hardy Museum at the end of November.
HATS OFF TO LAUREL AND HARDY (Stuart Newton, Heron Theatre, Beetham, 7th October 2013)
Just to confirm our very sincere thanks for a very enjoyable and informative evening on Friday, with many positive comments received and enquiries about where people can recommend their friends to see the show.
I thought it was an excellent script with a well devised set and presentation. The video clips were absolutely excellent and added to your very believable portrayals of Stan & Ollie and other characters.
Do keep in touch about any further productions.
I thought it was an excellent script with a well devised set and presentation. The video clips were absolutely excellent and added to your very believable portrayals of Stan & Ollie and other characters.
Do keep in touch about any further productions.
LAUREL AND HARDY (Paul Levy, FringeReview, 26th May 2013)
Lucky Dog bring Tom McGrath's occasionally heartbreaking biographical drama to the Brighton Fringe stage.
A silent movie Ollie and Stan backdrop; there's a surreal start to the proceedings as we enter, reminding me a bit of Dreamthinkspeak. We are entering the world of Laurel and Hardy in this tender and brilliant rendition of Tom McGrath's bittersweet play.
There's something of Godot about this piece. Two legends scared of telling the truth. Stan Laurel is played by Tony Carpenter and Oliver Hardy is played by Philip Hutchinson. These two have studied THAT two well. They are visually consistent and convincing, though this is no consistent impersonation. They do not try to be exactly like Stan and Babe all the time. They focus instead on the essence, and they capture that essence consistently. At wonderfully shiversome moments, the whole piece shifts into perfect focus and we have them exactly before us. At other times, it matters less for we are in story, not set piece, we are in biography, not sight gag. It is important that this isn't just an attempt to impersonate the two using the best known bits we all remember. Instead we get an engaging and sometimes elating, sometimes sad story that fully stands out as theatre in its own right - the story of two souls fearful of their futures, and making and breaking as they get older.
The twosome are deceased and will tell us who they really were. That's the promise - and that promise is delivered on in an outstanding way.
The tale begins.... 1892, Atlanta Georgia. The birth of Oliver Norville Hardy.... It's a surprisingly off the wall script in places but the traditional essence of these two has been lovingly preserved in moments of tenderness, moments of lovingly recreated comedy, moments of frustration, and moments of death and dying (I cried).
This is a lovely piece of theatre built around a well crafted biography for two, and you probably do have to have an interest in Stan and "Babe" Ollie to get all of the details.
Vaudeville and music hall gave way to radio and movies but not before it had left its comedy mark on Stan. We are treated to the early days of the two before they'd met and became the inseparable act we still love today.
There's a danger here that the impersonation can overshadow the story. That doesn't happen here. This is a biography of two legendary comedians, an immersion in Vaudeville and the birth of silent, then talking movies. We see the roots of the comedy act in the roots of their two lives as well as the off limelight dynamics. There's boldness in this attempt but sometimes it feels a bit too designed and complex. I wanted a bit more time with Ollie and Stan without so many narrative interventions. Less will be more in terms of episodes. But there's plenty of intriguing "fill" story to lift this into the realms of engaging biography. And I realised that my wanting more of Stan and Ollie is more about me and my love of Laurel and hardy. I grew up with them, and a reviewer has to see beyond that bias. What we get here are the difficult for a fan to watch sides of the two - their all too human insecurities about contracts, for example.
Where do you go after 44 films in ten years ? This was the turning point for the boys as they broke for freedom, a freedom to be found in being stronger as a pair stand together (in the end) in the face of Hal Roach's obsession with the box office.
I'm a huge fan of Laurel and Hardy. There - I've confessed. Yet seeing past that, this is a finely crafted piece of biography theatre and goes way beyond rendition and impersonation. It's a gem of onstage interaction, never fleeing into over the top, a tinge of darkness but plenty of warmth and infectious energy and creativity in the telling of a story that has rarely been attempted in theatrical form. McGrath's script is a pleasing fix of factual docudrama but with the sensitive skill to let the boys play put their life in front of us - from beginning to end.
Life without Hal Roach - was it the biggest mistake they ever made, the wish to break free of entanglement? This is a story of rise but also of plateau and struggle. It is staged with a pitch perfect level of emotion, with an acutely strong sense of allowing the story to deliver the needed comedy without that comedy ever suffocating the narrative. That's another reason why this is outstanding work.
We find ourselves suddenly in the '40s and then the sagging '50s. The later years are dealt with more quickly and less reflecting the quickening pace of the century. I won't spoil it for you, but there a several moments that could break your heart, but there are plenty of others where you will smile. Carpenter and Hutchinson have delivered two characters that many an actor would never dare to attempt to play. Carpenter's Laurel captures the mannerisms of Stan but also the offstage qualities of determination and his lesser known side as a director. We get the dumb look of confusion but we also get the tear-inducing love at the end. We get the needed silence and stillness alongside the replaying of classic moments from the films, timed to near perfection. Hutchinson's Babe Hardy is all the more impressive because, as a man, he isn't as big as Hardy was, especially towards the latter years, but he sings with a sweetness and resonance in Shine On... that converged on the real and immersed us all in the milieu.
The whole thing was never underplayed, the script and the two actors serve the story - the whole story - and the sense of truth that arises in an hour adds believability to the piece. A perfect blend of story and comedy. It's rare to see that balance struck so well.
Laurel and Hardy are beyond the grave, but were brought beautifully back to life by Lucky Dog Theatre. Outstanding work.
A silent movie Ollie and Stan backdrop; there's a surreal start to the proceedings as we enter, reminding me a bit of Dreamthinkspeak. We are entering the world of Laurel and Hardy in this tender and brilliant rendition of Tom McGrath's bittersweet play.
There's something of Godot about this piece. Two legends scared of telling the truth. Stan Laurel is played by Tony Carpenter and Oliver Hardy is played by Philip Hutchinson. These two have studied THAT two well. They are visually consistent and convincing, though this is no consistent impersonation. They do not try to be exactly like Stan and Babe all the time. They focus instead on the essence, and they capture that essence consistently. At wonderfully shiversome moments, the whole piece shifts into perfect focus and we have them exactly before us. At other times, it matters less for we are in story, not set piece, we are in biography, not sight gag. It is important that this isn't just an attempt to impersonate the two using the best known bits we all remember. Instead we get an engaging and sometimes elating, sometimes sad story that fully stands out as theatre in its own right - the story of two souls fearful of their futures, and making and breaking as they get older.
The twosome are deceased and will tell us who they really were. That's the promise - and that promise is delivered on in an outstanding way.
The tale begins.... 1892, Atlanta Georgia. The birth of Oliver Norville Hardy.... It's a surprisingly off the wall script in places but the traditional essence of these two has been lovingly preserved in moments of tenderness, moments of lovingly recreated comedy, moments of frustration, and moments of death and dying (I cried).
This is a lovely piece of theatre built around a well crafted biography for two, and you probably do have to have an interest in Stan and "Babe" Ollie to get all of the details.
Vaudeville and music hall gave way to radio and movies but not before it had left its comedy mark on Stan. We are treated to the early days of the two before they'd met and became the inseparable act we still love today.
There's a danger here that the impersonation can overshadow the story. That doesn't happen here. This is a biography of two legendary comedians, an immersion in Vaudeville and the birth of silent, then talking movies. We see the roots of the comedy act in the roots of their two lives as well as the off limelight dynamics. There's boldness in this attempt but sometimes it feels a bit too designed and complex. I wanted a bit more time with Ollie and Stan without so many narrative interventions. Less will be more in terms of episodes. But there's plenty of intriguing "fill" story to lift this into the realms of engaging biography. And I realised that my wanting more of Stan and Ollie is more about me and my love of Laurel and hardy. I grew up with them, and a reviewer has to see beyond that bias. What we get here are the difficult for a fan to watch sides of the two - their all too human insecurities about contracts, for example.
Where do you go after 44 films in ten years ? This was the turning point for the boys as they broke for freedom, a freedom to be found in being stronger as a pair stand together (in the end) in the face of Hal Roach's obsession with the box office.
I'm a huge fan of Laurel and Hardy. There - I've confessed. Yet seeing past that, this is a finely crafted piece of biography theatre and goes way beyond rendition and impersonation. It's a gem of onstage interaction, never fleeing into over the top, a tinge of darkness but plenty of warmth and infectious energy and creativity in the telling of a story that has rarely been attempted in theatrical form. McGrath's script is a pleasing fix of factual docudrama but with the sensitive skill to let the boys play put their life in front of us - from beginning to end.
Life without Hal Roach - was it the biggest mistake they ever made, the wish to break free of entanglement? This is a story of rise but also of plateau and struggle. It is staged with a pitch perfect level of emotion, with an acutely strong sense of allowing the story to deliver the needed comedy without that comedy ever suffocating the narrative. That's another reason why this is outstanding work.
We find ourselves suddenly in the '40s and then the sagging '50s. The later years are dealt with more quickly and less reflecting the quickening pace of the century. I won't spoil it for you, but there a several moments that could break your heart, but there are plenty of others where you will smile. Carpenter and Hutchinson have delivered two characters that many an actor would never dare to attempt to play. Carpenter's Laurel captures the mannerisms of Stan but also the offstage qualities of determination and his lesser known side as a director. We get the dumb look of confusion but we also get the tear-inducing love at the end. We get the needed silence and stillness alongside the replaying of classic moments from the films, timed to near perfection. Hutchinson's Babe Hardy is all the more impressive because, as a man, he isn't as big as Hardy was, especially towards the latter years, but he sings with a sweetness and resonance in Shine On... that converged on the real and immersed us all in the milieu.
The whole thing was never underplayed, the script and the two actors serve the story - the whole story - and the sense of truth that arises in an hour adds believability to the piece. A perfect blend of story and comedy. It's rare to see that balance struck so well.
Laurel and Hardy are beyond the grave, but were brought beautifully back to life by Lucky Dog Theatre. Outstanding work.
LAUREL AND HARDY (Steve Bennett, Chortle, 22nd May 2013)
This most certainly is not ‘another nice mess’. Lucky Dog Productions have lavished attention on this affectionate biographical tribute that strides briskly and entertainingly through the life and times of comedy’s most enduring double-act.
Their impersonations, while not 100 per cent slavish, certainly capture the spirit of the originals. As Ollie, Philip Hutchinson is a master of acting with his eyes, getting laughs from just the perfect look. But to isolate one without the other is as futile as trying to divide the original duo: it’s the partnership that makes it work, and Tony Carpenter is just as strong as Stan, bringing a vulnerability and poignancy to the role.
Convention - or cliché - dictates that any play involving a dead comedian must involve them in heaven or purgatory, and while that’s established here, it’s not dwelt on. Instead Stan and Ollie ponder how they ever got, and stayed, together as they re-enact scenes from their lives.
With the versatility low-budget fringe theatre demands, they leap in and out of supporting characters, fromthe music hall owner who gave boy comic Stanley Jefferson his first break in the music halls to Hal Roach, the producer who put the two of them together and drove their success.
We meet them at their births, follow them though the vaudevillian stage, and on to the punishing schedule of more than four films a year for a decade... until fears of hubris led the fretful Laurel to prompt a split from their mentor Roach, leading to an artistic spiral that hit a low with their miserable final film, Atoll K.
The late Tom McGrath's classic script seamlessly weaves their stories, both personal and professional with dialogue from their movies and – of course – plenty of moments of slapstick. Yet it (nearly) always feels graceful, not gratuitous in a production that’s the epitome of restrained precision. And never more so when they recreate the duo’s timeless, perfectly-choreographed dance from Way Out West.
The script can’t quite avoid the usual biographical trap of such unnatural background lines as Roach saying ‘Laurel & Hardy? OK, let’s give it a try...’ or ‘The Music Box, that’s just won us an Oscar’, but it’s a triumph that it packs so much in without feeling over-rushed or contrived, while the actors provide enough warmth and wit that should appeal even to those who wouldn’t count themselves Laurel and Hardy fans. There’s a feeling more could be said (indeed full versions of this play run for nearer two hours) but pace is a strength of this production.
Lucky Dog, a new Surrey-based named after the first film in which Laurel and Hardy appeared together, have certainly hit the ground running with this confident, enjoyable offering.
Their impersonations, while not 100 per cent slavish, certainly capture the spirit of the originals. As Ollie, Philip Hutchinson is a master of acting with his eyes, getting laughs from just the perfect look. But to isolate one without the other is as futile as trying to divide the original duo: it’s the partnership that makes it work, and Tony Carpenter is just as strong as Stan, bringing a vulnerability and poignancy to the role.
Convention - or cliché - dictates that any play involving a dead comedian must involve them in heaven or purgatory, and while that’s established here, it’s not dwelt on. Instead Stan and Ollie ponder how they ever got, and stayed, together as they re-enact scenes from their lives.
With the versatility low-budget fringe theatre demands, they leap in and out of supporting characters, fromthe music hall owner who gave boy comic Stanley Jefferson his first break in the music halls to Hal Roach, the producer who put the two of them together and drove their success.
We meet them at their births, follow them though the vaudevillian stage, and on to the punishing schedule of more than four films a year for a decade... until fears of hubris led the fretful Laurel to prompt a split from their mentor Roach, leading to an artistic spiral that hit a low with their miserable final film, Atoll K.
The late Tom McGrath's classic script seamlessly weaves their stories, both personal and professional with dialogue from their movies and – of course – plenty of moments of slapstick. Yet it (nearly) always feels graceful, not gratuitous in a production that’s the epitome of restrained precision. And never more so when they recreate the duo’s timeless, perfectly-choreographed dance from Way Out West.
The script can’t quite avoid the usual biographical trap of such unnatural background lines as Roach saying ‘Laurel & Hardy? OK, let’s give it a try...’ or ‘The Music Box, that’s just won us an Oscar’, but it’s a triumph that it packs so much in without feeling over-rushed or contrived, while the actors provide enough warmth and wit that should appeal even to those who wouldn’t count themselves Laurel and Hardy fans. There’s a feeling more could be said (indeed full versions of this play run for nearer two hours) but pace is a strength of this production.
Lucky Dog, a new Surrey-based named after the first film in which Laurel and Hardy appeared together, have certainly hit the ground running with this confident, enjoyable offering.
LAUREL AND HARDY (RubyRubyRuby, LoveFringe, 20th May 2013)
HATS OFF TO CARPENTER AND HUTCHINSON!
Having lived in a city with a major Theatre Festival, I have been lucky to have seen lots of shows over the years, ranging from major productions to small shows such as this. I can honestly say that 'Laurel and Hardy' is right up with the best of anything I've ever seen, and I certainly enjoyed every minute of it. Tony Carpenter and Philip Hutchinson are both equally multi-talented in the title roles, and the audience quickly suspends reality and accepts them as Laurel and Hardy - to the point where I was lost in admiration for the singing, dancing, and slapstick comedy skills of the famous 'stars' and momentarily forgot how incredibly gifted Carpenter and Hutchinson are to be able to imitate them, and how much energy they must have expended. The show is not just comic though; It is very informative and interesting on the biographies of Laurel and Hardy. It is also very moving when it comes to the deaths of the two stars -Hutchinson brought real tears of emotion to my eyes. I think that the biggest accolade that I could give this show, though, is that I rushed home to watch old Laurel and Hardy films on YouTube for half the night, and with a much greater admiration and affection...and surely that was the whole aim of this show? I couldn't recommend it enough.
Having lived in a city with a major Theatre Festival, I have been lucky to have seen lots of shows over the years, ranging from major productions to small shows such as this. I can honestly say that 'Laurel and Hardy' is right up with the best of anything I've ever seen, and I certainly enjoyed every minute of it. Tony Carpenter and Philip Hutchinson are both equally multi-talented in the title roles, and the audience quickly suspends reality and accepts them as Laurel and Hardy - to the point where I was lost in admiration for the singing, dancing, and slapstick comedy skills of the famous 'stars' and momentarily forgot how incredibly gifted Carpenter and Hutchinson are to be able to imitate them, and how much energy they must have expended. The show is not just comic though; It is very informative and interesting on the biographies of Laurel and Hardy. It is also very moving when it comes to the deaths of the two stars -Hutchinson brought real tears of emotion to my eyes. I think that the biggest accolade that I could give this show, though, is that I rushed home to watch old Laurel and Hardy films on YouTube for half the night, and with a much greater admiration and affection...and surely that was the whole aim of this show? I couldn't recommend it enough.
LAUREL AND HARDY (Crawford, LoveFringe, 19th May 2013)
MEMORY LANE
This amazing production took me back 50 years to Saturday morning pictures but with the added interest of their life stories. Pitch perfect performances. A wonderful hour of great entertainment.
This amazing production took me back 50 years to Saturday morning pictures but with the added interest of their life stories. Pitch perfect performances. A wonderful hour of great entertainment.
JACK THE RIPPER: FACTS, NO FICTION (Dale Phoenix, Broadway Baby, May 2013)
DISMEMBERMENTS REMEMBERED
Jack the Ripper is undoubtedly acknowledged as a tall figure in a top hat, creeping through the foggy streets of London’s East End and pouncing on lascivious ladies of the night. As historian Philip Hutchinson so succinctly describes, nothing could be further from the truth. When considering the best way to exploit a relaxing evening out at the theatre, an hour’s lecture on the exploits of a mysterious serial killer is far from the forefront of most people’s minds. In that respect, this piece is a myth-busting exercise that presents history, popular misconception and context in a symbiotic and humorous package.Hutchinson has written several books about these infamous events and his knowledge of the subject is apparent from the outset. His ability to evoke quotations, dates, places and names with no written prompts is an astounding feat accentuated by his relaxed and matter-of-fact delivery. Far from being preachy, didactic or Gradgrindian, the hour is filled with audible laughs through comic asides. These moments both aid the delivery and ease those of a squeamish or sensitive nature. As well as the welcome use of visual aids, Hutchinson’s diverse lexicon goes as far as possible at positioning the audience at the scenes of the crime whilst these atrocities were being committed.
Addressing theories as varied as anti-Semitic motivations and royal conspiracies, Hutchinson brings his subject matter to life in a piece that never feels boring or stale. In an age in which curriculum reform is seen as the great fix for educational mismanagement, the delivery of our past in this manner and with this passion would certainly bridge the gap between the disillusioned citizen and the avid historian.
Jack the Ripper is undoubtedly acknowledged as a tall figure in a top hat, creeping through the foggy streets of London’s East End and pouncing on lascivious ladies of the night. As historian Philip Hutchinson so succinctly describes, nothing could be further from the truth. When considering the best way to exploit a relaxing evening out at the theatre, an hour’s lecture on the exploits of a mysterious serial killer is far from the forefront of most people’s minds. In that respect, this piece is a myth-busting exercise that presents history, popular misconception and context in a symbiotic and humorous package.Hutchinson has written several books about these infamous events and his knowledge of the subject is apparent from the outset. His ability to evoke quotations, dates, places and names with no written prompts is an astounding feat accentuated by his relaxed and matter-of-fact delivery. Far from being preachy, didactic or Gradgrindian, the hour is filled with audible laughs through comic asides. These moments both aid the delivery and ease those of a squeamish or sensitive nature. As well as the welcome use of visual aids, Hutchinson’s diverse lexicon goes as far as possible at positioning the audience at the scenes of the crime whilst these atrocities were being committed.
Addressing theories as varied as anti-Semitic motivations and royal conspiracies, Hutchinson brings his subject matter to life in a piece that never feels boring or stale. In an age in which curriculum reform is seen as the great fix for educational mismanagement, the delivery of our past in this manner and with this passion would certainly bridge the gap between the disillusioned citizen and the avid historian.
LAUREL AND HARDY (Tastdogs, LoveFringe, 15th May 2013)
ANOTHER FINE MESS? NOT AT ALL
The truly amazing part of the show are the 2 characters who look exactly like Laurel & Hardy and have all their mannerisms just so. I also loved the way how Laurel & Hardy could morph into the supporting characters just with the addition of a pair of spectacles or a wig. I am not sure that Laurel & Hardy are neccessarily gut-bustingly funny today, but this warm & gentle tribute to Laurel & Hardy is great fun. The material skips gently through their career telling the story of their rise & how Laurel wanted to own the whole show rather than rely on Hal Roach as Director.Watching this you realise how everyone from Norman Wisdom to Morecambe & Wise used aspects of their act. A triumph from a new theatre group that I enjoyed immensely. Well worth an hour of anyone's time.
The truly amazing part of the show are the 2 characters who look exactly like Laurel & Hardy and have all their mannerisms just so. I also loved the way how Laurel & Hardy could morph into the supporting characters just with the addition of a pair of spectacles or a wig. I am not sure that Laurel & Hardy are neccessarily gut-bustingly funny today, but this warm & gentle tribute to Laurel & Hardy is great fun. The material skips gently through their career telling the story of their rise & how Laurel wanted to own the whole show rather than rely on Hal Roach as Director.Watching this you realise how everyone from Norman Wisdom to Morecambe & Wise used aspects of their act. A triumph from a new theatre group that I enjoyed immensely. Well worth an hour of anyone's time.
LAUREL AND HARDY (Duncan Hall, Brighton Argus, 14th May 2013)
The world’s best-loved double act is languishing in heaven, looking back over their lives.
Against a plain white background, with the minimum of props, Tony Carpenter and Philip Hutchinson successfully tell the stories of Stanley Laurel nee Jefferson, and Oliver Norville “Babe” Hardy, from early beginnings to their disastrous final French film.
Along the way they pay homage to the duo’s greatest moments on celluloid, with nods to Men O’War and Blockheads, as well as a faithful recreation of the hilarious dance from Way Out West – arguably the pair’s finest five minutes in front of the camera, showcasing their comic timing, physical skills and natural chemistry.
And there is genuine sadness as the pair’s career begins to crumble and are finally separated – encapsulated as Laurel silently holds his co-star’s bowler hat to his chest with tears welling in his eyes.
The story doesn’t have time to go into great depth but fans will find plenty to enjoy, especially the brief insights into the pair’s lives away from the camera.
And anyone who has never seen the original movies might find their appetite whetted by the closing filmed remake of The Trail Of The Lonesome Pine.
Against a plain white background, with the minimum of props, Tony Carpenter and Philip Hutchinson successfully tell the stories of Stanley Laurel nee Jefferson, and Oliver Norville “Babe” Hardy, from early beginnings to their disastrous final French film.
Along the way they pay homage to the duo’s greatest moments on celluloid, with nods to Men O’War and Blockheads, as well as a faithful recreation of the hilarious dance from Way Out West – arguably the pair’s finest five minutes in front of the camera, showcasing their comic timing, physical skills and natural chemistry.
And there is genuine sadness as the pair’s career begins to crumble and are finally separated – encapsulated as Laurel silently holds his co-star’s bowler hat to his chest with tears welling in his eyes.
The story doesn’t have time to go into great depth but fans will find plenty to enjoy, especially the brief insights into the pair’s lives away from the camera.
And anyone who has never seen the original movies might find their appetite whetted by the closing filmed remake of The Trail Of The Lonesome Pine.
LAUREL AND HARDY (David Rumelle, RemoteGoat, 14th May 2013)
EFFORTLESSLY PERFORMED AND SUPERBLY CHOREOGRAPHED
There is so much information squeezed into this hour show that it could easily be extended to two ¾ hour halves. Not that it ever becomes a history lesson - far from it.
This fascinating production fills in many of the gaps we've wanted to know about this iconic double act, covering everything from Laurel's music hall days (as Stanley Jefferson) to his many wives, their meeting on the film 'Lucky Dog' and the complex dealings with producer with Hal Roach, who gave the pair celluloid immortality.
And not only do Tony Carpenter and Philip Hutchinson bare an uncanny resemblance to the duo (particularly Hutchinson's fine singing) but they play every other part between them and sometimes play the same role at break-neck speed.
All this artfully weaves in classic dialogue from many of their films including 'Towed in a Hole', 'Swiss Miss' and 'The Fixer Uppers'. These snippets carry the plot forward; for instance a chat about Hardy's ex-wives subtly gives way to the classic exchange from 'Beau Hunks'.
The final chapter in the careers of these two legends is poignantly played by Carpenter, which is also pointed out by Stan Laurel watching an old silent movie in the foyer, prior to the performance - a lovely touch.
Messrs Carpenter and Hutchinson have re-created the pair's timing to perfection, not only in the dialogue but with every slap and prat-fall. Their harmonies whilst singing are delightful and one of the many highlights of this whirl-wind history is the classic 'Way out West' dance routine to the Avalon boys - superbly choreographed and effortlessly performed.
With only an hour's show, a lot of areas are lightly passed over and I would like to see this show expanded - but for a potted re-creation and delightful flavour of these comedy pioneers, look no further.
Also, don't leave too soon after the performance or you may miss another re-creation of one of the many classic routines.
Be quick and catch this show - it's not playing for long!
There is so much information squeezed into this hour show that it could easily be extended to two ¾ hour halves. Not that it ever becomes a history lesson - far from it.
This fascinating production fills in many of the gaps we've wanted to know about this iconic double act, covering everything from Laurel's music hall days (as Stanley Jefferson) to his many wives, their meeting on the film 'Lucky Dog' and the complex dealings with producer with Hal Roach, who gave the pair celluloid immortality.
And not only do Tony Carpenter and Philip Hutchinson bare an uncanny resemblance to the duo (particularly Hutchinson's fine singing) but they play every other part between them and sometimes play the same role at break-neck speed.
All this artfully weaves in classic dialogue from many of their films including 'Towed in a Hole', 'Swiss Miss' and 'The Fixer Uppers'. These snippets carry the plot forward; for instance a chat about Hardy's ex-wives subtly gives way to the classic exchange from 'Beau Hunks'.
The final chapter in the careers of these two legends is poignantly played by Carpenter, which is also pointed out by Stan Laurel watching an old silent movie in the foyer, prior to the performance - a lovely touch.
Messrs Carpenter and Hutchinson have re-created the pair's timing to perfection, not only in the dialogue but with every slap and prat-fall. Their harmonies whilst singing are delightful and one of the many highlights of this whirl-wind history is the classic 'Way out West' dance routine to the Avalon boys - superbly choreographed and effortlessly performed.
With only an hour's show, a lot of areas are lightly passed over and I would like to see this show expanded - but for a potted re-creation and delightful flavour of these comedy pioneers, look no further.
Also, don't leave too soon after the performance or you may miss another re-creation of one of the many classic routines.
Be quick and catch this show - it's not playing for long!
