Review of ‘Police Cops’: “Stage justice”

Nostalgia explodes onstage with the arrival of this comedy show paying homage to cuffs, bullets and the MTV years. Guillermo Nazara shares his views on the production, to let us know if this new parody musical has managed to beat his rap.

Oh, I remember the 80s so vividly! The uplifting music, the unbelievable film plot twists and the even more unbelievable hairstyles! That decade surely meant something. Did it do it for you? Fab! You’re the only one from the two of us then. Because my memories actually come from my parents’ records. So… you know… But don’t worry, you don’t need to feel old (today), because just a few steps away from the buzz of the West End (you’d better take the bus, though) there’s a new musical that pays homage to a time that certainly defined one of the most important periods in popular art.

Enter Police Cops (onstage, don’t let those folks into your house), a new musical coming to the London scene after its first run at last summer’s Edinburgh Fringe Festival. A love letter to the era that brought us joy, laughter and the yuppie boys, this hilarious production is a growing ball of fun packed with incredibly catchy tunes, sharp jokes and a compelling storyline – all the necessary elements to get you hooked (or handcuffed -sorry, it’s early in the morning… for a Spaniard) from start to finish.

With book and lyrics by Zachary Hunt, Nathan Parkinson and Tom Roe (also co-directors) and a score by Ben Adams, the writing is no doubt one of its strongest components. Conceived as a camp parody of the movies and series some of us grew up with, the show manages to deliver an interesting, exhilarating narrative – filled up with absurd situations and goofy roles in order to spoof the genre, but also developing an engaging tale we can connect with and care about.

All its bits work in tandem to make the piece function as a whole. The songs are a blast of energy and amusement, but they, too, serve a purpose within the plot, allow the characters to move forward and are perfectly set by their cues. On the other hand, the dialogues are filled with uproarious moments while at the same time add depth to the recount. All of it, coming as the result of people that not only understand (and have an instinct for) musical theatre, but also have the talent to create a funny, silly show that’s however quite clever.

Yet, all these merits would stay behind bars if it weren’t from the other great contributor to the show’s success: its cast. Not too surprisingly in this case, it turns out the authors happen to be also the leads – and I thought I was the gifted one with my reviews… (Shut up!). Hunt, Parkinson and Roe have intoxicating stamina, the last two of them portraying a staggering number of characters with astounding vigour, timing and naturality. In addition, Hunt and Parkinson form an exceptional duo onstage – exuding so much chemistry between them both that their bond travels beyond the scene and translates to the entire audience – and especially Alex (subject to change), the ex-racist (when you watch it, you’ll get what I mean).

Dollars to doughnuts (that’s a bet no policeman can resist), this is hardly the last time we’re gonna hear about this show. Its massive feel good-vibe and spicy originality make of it something truly remarkable, to the point that it would really be a crime not to see it. With beautiful lighting (they owed him that one) and set design, unstoppable vibrancy and a chill-inducing flavour, there’s only one thing missing for this show to be perfect: all Mexicans need an Auntie Conchita. But that’s a flaw I’m willing to look over, as it’s fair to say that they’ve redefined the meaning of ACAB. Because here, all cops are brilliant.

All pictures credit to Pamela Reith.

Police Cops plays at London’s Southwark Playhouse Borough until 14 October. Tickets are available on the following link.

By Guillermo Nazara