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Synopsis Bernard , a successful architect living in Paris, thought he could easily cope with his three air hostess fiancées. It was all a question of timetables and a reliable, long-suffering housekeeper who reluctantly has the role of romantic air-traffic controller. When old school chum Robert arrives, Bernard relishes the chance to show his wide-eyed friend his first-class operation at work. Unfortunately, schedules change, flights are delayed and a new turbo-charged Boeing aircraft is introduced: chaos ensues in this hysterical whirl of mayhem and matchmaking. Running time approx 2 hours 30 mins.
Roger Allam, Frances de la Tour and Mark Rylance star in Marc Camoletti’s classic Sixties comedy of errors Boeing-Boeing, which opened last night (15 February, following previews from 3 February), at the West End’s Comedy Theatre (See News, 21 Dec 2006).
In the farce, a Paris-based English architect (Allam) attempts to juggle airline schedules to match his three air hostess fiancees’ work timetables, aided by his housekeeper (de la Tour) and naïve friend (Rylance). Boeing-Boeing, which originally opened in London in 1962, held the world record for the longest-running comedy in the West End, playing over 200 performances before transferring to Broadway.
Overnight critics got caught up in the hilarity of the piece, which they found extremely well constructed, if a little dated. They praised Warchus’ direction, which they said enable the farce to take off, and were impressed by the performances of the strong cast, particularly highlighting the “inspired” Rylance for giving “the comic performance of a lifetime”.
Michael Coveney on Whatsonstage.com (5 stars) – Coveney relished the “brilliant, deliriously funny revival by Matthew Warchus of a much maligned 1960s West End dinosaur.” He said: “Marc Camoletti’s French fracas, beautifully translated by the late Beverley Cross, is as ferociously funny as Feydeau and as catastrophically classic as Corneille…. Supervising the household where seven doors are in constant use on Rob Howell’s white, cool curvilinear design, is Bertha the maid, whom Frances de la Tour presents hilariously as a foot-dragging, seen-it-all slouch with a hang-dog air of unshakeable disapproval. Deadpan is too small a word to describe her reaction to Robert’s unwisely fulsome appreciation, likening her to a virgin in the story of the grail in the legend of the Nibelungen: ‘Well, I’ve been called worse…’…. Allam and Rylance show that the best of our classical actors are capable of conquering the most difficult of all acting challenges, farce. This is the best West End partnership since Donald Sinden and Michael Williams in Ray Cooney’s Two into One, and easily the funniest evening in London.”
Michael Billington in the Guardian (4 stars) – “Marc Camoletti's French farce, which ran in London for much of the Sixties, has not merely been revived - it has been buffed up, re-polished and given the kind of dream cast which the National Theatre used to devote to Feydeau. And the result, in Matthew Warchus' loving production, achieves a kind of delirium…. The triumph of Warchus' production is he presents us with real people rather than mechanical objects. Roger Allam's Bernard, bragging that his plan is ‘so precise as to be almost poetic’, perfectly exudes a peacock vanity which demands retribution. Frances de la Tour as his maid, preparing dishes to suit the hostesses' nationalities, from her first lazy saunter across the stage brilliantly suggests a woman wearied by her roles as cook, pimp and traffic-controller. The plum part is that of Robert, whom Mark Rylance invests with a Welsh accent and poll-scratching air of bemusement that reminds one of Stan Laurel at his best. Rylance… dazzlingly shows… how the outsider gets caught up in the wicked Parisian game…. Of the hostesses, Michelle Gomez is outstanding as the guttural German.”
Nicholas de Jongh in the Evening Standard (4 stars) – “It sounds like a standard recipe for an old-fashioned French sex-farce, with an apartment boasting bedrooms, into which girls have either to be quickly stuffed or prevented from looking. And Boeing-Boeing does indeed go in for dated gender stereotyping. Never mind. It works like a comic dream. Thanks… to Matthew Warchus' deliciously acted, psychologically nuanced production, with Rylance's inspired characterisation of Robert as a sweet, strange sexual innocent, desperate to try his hand, this Boeing-Boeing is pitched more as sexual comedy than situation farce. It works wonders. Only Allam's surprisingly dull, ponderous Bernard fails to make the comic grade…. (Rylance) peddles a fine line in desperation: he bars the bedroom to hostesses on grounds that proclaim his weirdness, falsely owns up to airline bags of intimate ladies' clothing as if a part-time cross-dresser. He submits to Tamzin Outhwaite's tart American hostess, who treats him as a kissing machine, in submissive amazement. It's the comic performance of a life-time.”
Benedict Nightingale in the Times (4 stars) – Nightingale said the farce is “funny enough for us to overlook implausibilities that seem even more preposterous than in 1962. Imagine today’s airlines arriving on time with such unerring precision that these serial mistresses can spend months popping into the same bed without so much as grazing each other’s passing bottoms…. Yet what’s striking about Matthew Warchus’ production isn’t so much the big ha-ha moments, with Rylance’s flummoxed Robert ensuring that Daisy Beaumont’s flamboyantly Italian Gabriella doesn’t invade the room in which Michelle Gomez’s fiercely Germanic Gretchen is secreted, or Allam’s increasingly panicky Bernard trying to curb Tamzin Outhwaite’s brashly American Gloria. No, the revival is at its best when comedy as opposed to farce is required. All three main performers score strongly here…. But in many ways it’s Rylance’s evening. Tell me: is there a subtler comic actor in London?”
I so wanted to like this but just can't find it in my heart. It has all of the qualities that should make it a comedy gem but this staging left me totally baffled as to where the jokes were and the stunt casting has backfired miserably. Rhea Pearlman is palying Carla from "Cheers" and Adrian Dunbar is trying way too hard. Amy Nuttall looks fantastic in just a towel but that isn't enought to safe this from being boring. - QuincyMD
20 Aug 07
This is a "Must see" comedy. It's fantastic. All of the cast are brilliant especially Elena Roger with a Italian accent. Not only is she a gifted singer and dancer, she is a gifted actress too. This is worth going to see. Please note, take plenty of tissues when you do go and see it, you will laugh so hard. - P. Metcalfe
06 Aug 07
This is a "Must see" comedy. It's fantastic. All of the cast are brilliant especially Elena Roger with a Italian accent. Not only is she a gifted singer and dancer, she is a gifted actress too. This is worth going to see. Please note, take plenty of tissues when you do go and see it, you will laugh so hard. - P. Metcalfe
06 Aug 07
I've wanted to see this for ages but for some reason the producers did not schedule a midweek matinee until now. I was a bit concerned about the recent cast changes but needn't have worried as everyone is on top form, although Adrian Dunbar is a bit ponderous. The first distraction is the accents: a French architect from a British public school with occasional bits of Belfast; his friend from Provence bizarrely played as a boyo from the valleys and the maid (Rhea Perlman) who not only looks like Carla from Cheers but sounds like her too. The other problem is that the plot lacks variety and surprises and is too repetitive to truly take off (excuse the pun). Although Boeing-Boeing is consistently funny it lacks moments which leave you helpless with laughter. Star performer is Neil Stuke who gives a comic turn to rival that of David Haig in Donkey's Years at this theatre last year, but Elena Roger is a revelation. Her accent is just as strong as in Evita but easier to understand and she is a corpser to rival Peter Sellers. There must be more roles as Latin ladies to keep the wonderful Miss Roger in London for as long as possible. - David Baxter
29 Jun 07
this very amusing script was brought to life hilariously by all the talented
actors.a good evenings entertainment. - bridget
02 Jun 07
This is very very funny, very very silly, and with a superb cast, led brilliantly by Mark Rylance, who underplays to perfection ! We also loved the outrageously over-the-top Glaswegian/ German of Michelle Gomez, and the surprisingly funny Tamzin Outhwaite. The cast seem to be having the time of their lives and they take the audience with them ! Brilliant fun ! - Mila
07 May 07
I agree with just about everything here. What a great fun night out at the theatre. Mark Rylance is a genius -what a performance from him - acutely observed and delivered with supreme confidence and understanding of the character. The rest of the cast were equally up to it and, in particular, Michelle Gomez who rivalled Mr Rylance for show stealer. One of the best revivals of any show I've seen in years. - rds
23 Mar 07
Well a new hit comedy production has landed in the West End, and thank the lord!
I have just got back from seeing todays matinee and it is one of the funniest and stylish plays I have ever seen. Far funnier than last years Donkeys Years. The West End needs a good farce, and this is it!
It screams sixties style as you enter the theatre with the upbeat french versions of sixties songs playing out to get you in the mood. When curtain goes up the simple but chic set continues that feel, the whole production reminded me of a cross between the films Down With Love and Catch Me If You Can.
The cast is all top notch, Roger Allam who I expected to be the lead, in many ways wasnt. He, in my view got overshadowed by the rest of the cast. Dont get me wrong he was excellent with what he had, but the part didnt on the whole get the best lines or the best scenes.
Frances de la Tour as always gave an effortlessly brilliant performance. She just has perfect comic timing, and can say more with a look than practically anybody else - you could tell she was having ALOT of fun.
Mark Rylance is the real star of the show, a truely amazing energetic perfromance that in my view is awards worthy, SO SO funny. People who do comedy well often seem to be overlooked for actors in more serious roles, but his perfromance cant be easy to do!
Now the three girls, ive always quite liked Tamzin Outhwaite, although she isnt the most amazing actress she is very watchable and in this she proves her worth (much more attractive in flesh as well). Her part is the smallest of the girls, but her comic timing is great, very sexy (as they all are), and really liked her american accent, to be honest she surprised me. Daisy Beaumont, again a very good accent and she really brings her character to life. All the girls bring something different to their roles to make each character different enough to keep the audiences interest. However the real star was Michelle Gomez - amazing stage presence, accent very good (although did veer to Zsa Zsa gabor at times) and for me she did steal the show.
I felt tired just watching this amazing cast, god knows how they do that everynight with the same energy!!
I also loved the curtain call, so stylish, classy yet cheeky and tongue in cheek. Everything in this production just gelled for me and for a good few hours of laughter and to leave with a smile on your face you shouldnt look any further, it may be one of the few plays that I revisit.
For anyone else who has seen it, did the champaigne cork fly up into the boxes or was it a fluke, the cast seemed to genuinly laugh like it was a mistake this afternoon?
The theatre was packed and he got a very strong reception with everyone i heard raving about it, so heres to a long run! - Neil Shorter
15 Mar 07
Boeing-Boeing is a pleasant but rather predictable farce, there are good moments but I stifled a few yawns as well. The cast is fine with Michelle Gomez's bizarre performance standing out. Mark Rylance's eccentric performance was maybe just a little too offbeat for my taste though. - houndtang
10 Mar 07
Would this forty year old farce stand the test of time? If you are lover of farce, as I am, the answer is likely to be yes, and in this instance yes it does.
I must confess to seeing the original back in the sixties and looked forward to seeing this revival. Thankfully it has not been updated and retains the sixties image. Ah!, such happy memories.
It is difficult to single out any one of the cast as they all perform excellently. As a previous reviewer notes France de la Tour gives a first rate lesson in comic timing. A flyaway success. - Barry Coppock
Opened 15 Oct 1881, designed by Thomas Verity and originally gas lit. 780 seats. An Ambassadors theatre since 2000 and renamed The Harold Pinter Theatre in September 2011 in recognition of the wide range of Pinter's plays that the theatre has hosted.
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