The Only Way is Downton (Tour – Salford)
Parodies of popular films or shows are common features in the repertoire of a comedian. They were a regular highpoint of the French and Saunders TV show. Writer and performer Luke Kempner uses his impressionist skills to introduce the concept as a live show without resorting to extensive make-up or props. However, extending the length beyond a simple sketch to a full-length show is not completely satisfactory.
Downton Abbey is facing hard times. His Lordship has lost a fortune unwisely investing in HMV, so is horrified by the possibility of further expense when his Dowager mother unexpectedly announces her engagement to a 20 year old. As the gentry try and forget their troubles by watching X Factor, the servants set out to raise cash by taking part in reality TV shows and sporting events.
Kempner overcomes the initial challenge – that, with a couple of exceptions, the actors in Downton Abbey are not recognisable by just their voices – by adopting their physical mannerisms and speech patterns. This is only partly successful – it ensures audience recognition but becomes repetitive, like a comedian parroting his catch phrase to get a quick laugh. As much of the show is built around reality TV, no matter how accurate the impersonation, anyone who has a life might struggle to recognise the subjects.
Although Kempner’s script satirises the weak points of his source material (the tendency of characters in Downton to set a time frame for the show by making contrived references to actual events) it is hard to give him credit for perception. The shows themselves are so close to self-parody it seems like he has picked very easy targets to be the butt of his humour.
Director Owen Lewis avoids the potential pitfalls that could arise from a sole performer and achieves a seamless production. One character sets up a straight line that bleeds directly into a punchline spoken by another. The conclusion, in which all of the Downton characters line-up to offer brief comments, is striking. But neither Kempner nor Lewis can resolve the fundamental problem that the material is simply not strong enough to support such a long show. The first Act is very padded with long gaps between jokes.
There is a significant improvement in the more focussed second Act. Kempner widens the scope of his satire to have a go at musical theatre with a show- stopping song cynically pointing out how tired old material can be given shiny, albeit superficial, appeal if set to music.
Kempner’s undeniable impressionist skills are not enough to ensure a fully entertaining evening. The satirical impact of The Only Way is Downton is limited by a lack of ambition in the subject matter. The humour in the show is spread thinly across an over-long running time.
The Only Way is Downton is currently on tour.
– Dave Cunningham
