Synopsis Harry Witherspoon, an unassuming English shoe salesman, lives an uneventful life in East Grinstead, England. His life takes a dramatic turn when he learns that his uncle Anthony, a casino manager from Atlantic City, has been killed by his visually-challenged lover Rita. Harry learns that he stands to inherit $6 million dollars from his uncle - but only if he agrees to take his Uncle’s corpse on a trip to Monte Carlo. Otherwise, the money will all go to his uncle’s favourite charity, the Universal Dog Home of Brooklyn. In a quest to gain his uncle’s inheritance, Harry sets out to fulfil uncle Anthony’s dying wish. However, in Monte Carlo, he meets a host of quirky characters who are also in hot pursuit of his uncle’s money…
The show that launched the careers of song-writing musical team Lynn Ahrens and Stephen Flaherty (who went on to write hits such as Ragtime), Lucky Stiff is a manic, madcap, slapstick number with zero plot realism but full marks for entertainment value.
Loosely based on the 1935 film, The Man Who Broke The Bank At Monte Carlo, Lucky Stiff brings together Americans, British, and a a few fake Italians, French and Arabs, in a game of mistaken identity, slamming doors and gun chases, all laced with high energy songs.
Seemingly dull English shoe salesman Harry Witherspoon’s humdrum life capsizes when a telegram (a rare occurrence in East Grinstead) informs him that an Atlantic City casino-owning uncle he has never met has been shot, and bequeathed him six million dollars. The catch is, to claim the fortune, Harry must spend a week carting his uncle’s embalmed corpse in a wheelchair around the delights of Monte Carlo, to fulfil the old boy’s dying wishes. And even that is not as straightforward as it sounds...
We have come to expect Landor Theatre musicals to be sleek, involving, and guarantees of a good night out, at the very least, and this production is no exception. Rob McWhir’s direction is highly imaginative, polished and full of heart.
James Winter is a suitably unassuming and endearing Harry Witherspoon, and is beautifully counterbalanced by genuinely funny, expressive Abigail Jaye, as the blue-stocking dog lover, whose mission is to sabotage Harry’s plans. Lucy Williamson gives a dynamite energy performance – complete with Nu-Yoyk accent – as gangster’s moll Rita La Porta, while Miles Western demonstrates great subtlety and charisma as her downtrodden optician brother, Vincent Di Ruzzio. Mark Hayden shows good comic timing as man of many identities Luigi Gaudi.
The rest of the ensemble more hold their own, displaying entertaining versatility. Ryan Bernstein is charming in his contrasting roles ranging from stuffy English lawyer to quirky Italian nun, and Thomas Lloyd plays shifty tough guys and mannered waiters with gusto. Samantha Darling shines as the cliché of sexy French cabaret singer, and Jenna Ryder-Oliver is brilliant as the nosy suburban landlady. Special mention should go to James Houlbrooke for his movement – and his stillness (all is revealed on the night).
For one night, forget about psychological analysis, private angst and intellectual motivations. Just suspend disbelief and give yourself up to an evening of simple, unadulterated fun with Lucky Stiff – you will be glad you did.
The whole cast played, to a modest matinee audience, as if it was their opening night.Well done. - Dave Griffin
22 Feb 12
This was Lynn Ahrens & Stephen Flaherty’s first musical, back in 1988. They went on to write a classic – Ragtime (brilliantly revived here at the Landor last year and included in this years Open Air season) – plus some good but less successful shows like Once on This Island, My Favourite Year and A Man of No Importance.
Based on Michael Butterworth’s book, the show tells the somewhat preposterous story of an English shoe salesman who inherits his American uncle’s fortune – provided he takes his corpse on holiday to Monte Carlo! He’s followed by a dog’s home representative who is checking he meets the conditions in full as otherwise they cop the lot. Of course, its musical comedy (farce) so nothing is as it seems and nothing turns out as planned.
Though it’s an early work, it’s a quirky and funny show with some nice tunes. We move from dull English shop and lodgings to the French Riviera (cue intentionally dodgy French accents and jokes about French stereotypes) as plain Harry wheels uncle around between locations followed by equally plain Annabel from the dogs home and uncle’s more manic ex and her brother. There’s even a dream sequence which includes a tap dance!
All the leads are excellent. James Winter and Abigail Jaye both strike the right note as quiet souls at sea in a strange world. Lucy Williamson is a terrific scorned woman, brash loud and somewhat gothic; a great double-act with Miles Western as her less manic but equally mad brother. The stiff (Mark Hayden?) would win any Best Performance by a Corpse award going – on stage for most of the play, he hardly flinched.
Rob McWhir’s production has a cartoonish quality and great pace. There’s a clever set with eleven doors and a descending bed. At the interval, I was puzzled at the lack of a design credit, but witnessing the interval repairs I was less surprised! The cast dealt with the elongated interval brilliantly by including a lyric referencing the bed in the second act opener – delicious!
Its great fun and you only have two more weeks to catch it.
- Gareth James
22 Feb 12
Only 6 shows left of LUCKY STIFF at The Landor Theatre, come see what the papers are talking about:
"...classic musical comedy..."
"...See it to catch musical theatre at its truly frivolous best..."
"...give yourself up to an evening of simple, unadulterated fun with Lucky Stiff – you will be glad you did..."
"...If you are looking for an enjoyable evening, full of laughs, spills and the occasional thrill then this is the show for you..." :D - Wesley Schol
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