Writer and performer Tim McArthur talks upcoming show ‘Eurovision, Your Decision’:”The whole point of theatre is to be challenged”

The campiest comedy in town about the campiest festival in the world returns to the stage in an updated version featuring new numbers, new cast additions, and more silliness than ever. Guillermo Nazara chats with the man behind and in front of the show, to learn more about this lively piece celebrating its Big Five in the London scene.

How did the idea for this show come about?

In 2005, I put together a little cabaret compilation show at the Jermyn Street Theatre, celebrating Eurovision. Four singers and a pianist. We sang about 8 songs, then did a bonkers quick change, jury voting, and then sang a winning song. This was BIM BAM BOM, from Eurovision, a show by Tim Luscombe and Jason Carr that played at the Vaudeville Theatre. I loved this show! In 2021, when I was programming the Cabaret Lounge at Above the Stag, the time felt right to bring it back as the love for Eurovision seems to have grown in the past 20 years.

So many shows have used Eurovision as their subject before. What makes this one different?

I have loved Eurovision since I first saw Bucks fizz rip their skirts off. This is a real homage to the Song Contest itself. Eurovision can be and has been bonkers for many years – from the songs, to the performances, hosts, and jury voting. This is like the competition itself, but every thing is heightened and goes that one step further (as Bardo sang in 1982). It’s silly, funny, at times makes no sense whatsoever. It’s my own personal love letter to the heart that is Eurovision.

“If you’re easily offended, this show is not for you”. What are audiences in for?

Madness! Four performers – all of whom sing, dance, and will play many different roles throughout the evening. I think we all need escapism at the moment, and also a good laugh at the theatre. The show doesn’t take itself seriously. Well, it does, but in all the right places.  It relies heavily on the multimedia aspect, too – exactly like the real Eurovision Song Contest.

As a creative, do you think modern audiences have become oversensitive?

Yes, sadly I do. For me, the whole point of theatre is to be challenged. To hear stories that sometimes we may not be comfortable with or things that may make us feel vulnerable. To put ourselves in other people’s situations, to hear different opinions that we may or not agree with. Life is a rich tapestry of learning – and personally, that’s how I like my theatre. EYD has comedic bones, which celebrate the diversity of the competition – with a nudge and a wink.

Not only are you both the writer and director, but also the lead actor. How challenging is it for you to assume all those roles at once?

This show is so special to me and, in a way, my vision. I have a routine of what needs to be done – when and where. The first process is the actors. Lucy Penrose is back for her 5^th year; David McMullan is back for his third year; and Jo Wickham joins after seeing the show every year and wanting to be in it. Trying to explain the show to actors is fun, as they must be able to sing, dance, act, and have a unique sense of comedy. Also, they need funny bones. The show is very physical so that is a requirement. Last year, performing Lipstick by Jedwood after Wild Dances nearly killed me! Next, comes the running order: what new songs to do, what do we bring back that are favourites, what we may rediscover. Then, I write the show.

Working out the running order is vital as for who sings what and how long they have to change. 14 songs, 4 performers – and we are each in seven of them. We then have a day of filming all the idents and postcards that are shown before each song. This is a lot of fun. I send Matt Richardson our very own Graham Norton the script for the idents. Joseph then edits it all together. So, it’s a relief when all the prep is done, then I can just enjoy getting my Gina G out, or Sonia, or Michael Ball.

I feel lucky to have our the tech team: Michelle (costumes), Joseph ( Video), Andy (tech manager), Paul (sound), and Chris (co-producer). They all have been with the show before, so our communication is on the same level as we all know what is needed to make it work. They all loved Eurovision.

Have you faced any additional challenges in this show?

That answer which always serves its head in theatre: money. Raising money for shows is hard. It was important for me that we keep the brand out in the public domain for Eurovision, Your Decision. Delighted that our new co-producer, Stephen Leslie, has come on board to help us – and we are all hoping that the journey will continue many years to come, but we can’t do any of that without our loyal fans and new audiences whom will come and support us.

Finding a venue that is right for the show is important. I’m delighted that my family at The Royal Vauxhall Tavern agreed to host us this year – it’s the perfect home. Having directed the RVT panto there for the past 10 years, I feel very lucky that I’ll finally get to perform on that iconic stage.

Are there any highlights in the show you would like flag?

To be honest, too many! This year, there are so many bangers in the show. So much comedy and silliness, too. Because the audience decides in the interval who wins each performance by scanning a QR code and voting live, the cast have no idea about who will be chosen. As the run goes on, we do get more and more competitive. But each night is different and joyous.

Why come see Eurovision, Your Decision?

If you love Eurovision in all its hilarious camp glory, this is the show for you. Even if you don’t love Eurovision, this will still make you howl. Come celebrate being European at the this musical comedy cabaret show.

Eurovision, Your Decision plays at London’s Vauxhall Tavern from 9 to 17 May. Tickets are available on the following link.

By Guillermo Nazara