The Tower of London cheerfully revives its days of torture and conspiracy through this new comedy featuring a star-studded cast and a true event-based story. Guillermo Nazara shares his thoughts on this farce set in the reign of Charles II, to let us know if this musical farce is actually a crowning achievement.
Once upon a time, in the far away land of England (yes, I know I’m writing this from London – just shut your mouth and die already), there lived a king whose reputation in the royal bedchamber preceded all of his comings (if you find a cheap joke there, it’s you who has the problem… cuz I think it’s excellent). He was ruthless with his enemies, but gentle with his mistresses. He was passionate and proud. But made the country’s voice resound out loud – it may have been a bit screechy, but that’s another matter. But his alleged triumphs would not exempt him from the fiercest criticism, for as the old rhyme recited: it was a thrilla with Camilla. And now let’s talk about Charles II.
The Garrick Theatre has left the gloomy dodginess of Prohibition America and returned to its illustrious opulence. It’s true that through cardboard walls and plastic gems, but you’re no one to judge – we know you also shop at TK Maxx. History was reborn onstage last week – and most surprisingly, not reinvented. All thanks to this (quite often, hysterical) comedy depicting the mutiny that almost wrecked the restoration of the monarchy. I mean, if they can’t have their parties, what else is there for them to do?
Written by Simon Nye, the play (occasionally, a musical) combines slapstick, farcical humour with small bits of improv and audience participation. With a simple yet strong enough opening (Carrie Hope Fletcher’s vocal skills justify the approval), the pacing is however flawed at some points – as Charles II’s scenes are, by far, the most enjoyable moments and, on the whole, probably the only ones that would trigger an honest laugh. Thank goodness, though, that the show is centered around him. I’m sure he would be smiling from (wherever the) hell (he is).
Featuring a few songs penned by composer Grant Olding and Nye himself, the scattered musical numbers contribute to a more amusing performance, but blur the lines defining the piece’s rhythmical structure – as sometimes we wish there was a tune to enhance the narrative, while at some other moments, they seem a bit shoehorned and unnecessary. On the other hand, the fact that all of the instrumental tracks are prerecorded turns the experience slightly off – as it goes against the basic concept (and expectation) of what a live show is supposed to be – especially, in the West End.
But there’s no need to hang them for these indictable offences – not only because capital punishment has been phased off in this country (there goes my happiness…) but also thanks to the brilliance of both its uproarious material and, most importantly, its even more (and delightfully) campier company. Mel Giedroyc gives a praiseworthy rendition in her double role of Mrs. Edwards and the French Noblewoman, both exuding the same level of enjoyment despite being opposedly different. However, Al Murray deservingly conquers to the throne through his portrayal of Charles II – at all times emanating huge stamina, charm, comedic timing and, above all, great control over his character and its delivery.
In spite of a rather rushed (and presumably, irresoluble) ending, The Crown Jewels is endowed with enough riches to make of this melange an estimable treasure. With a few extra tweaks and polishes, both play and production could be refined into something else than just one more ornament in theatreland, and become one of tis center pieces for at least its running season. Nonetheless, it’s quite a recommendable night out. All in all, a diamond with enough sparkle to be worth, if not a robbery, at least a paid visit.
All pictures credit to Hugo Glendinning.
The Crown Jewels plays at London’s Garrick Theatre until 16 September. Tickets are available on the following link.