About thirty minutes into this I was wondering when the story was going to start, then I realised that something very clever indeed was going on - through a series of pastiches of 1970's comedy we were learning about the psyche of our central character, Screaming Lord Such.This is a true story of a very British eccentric who formed a real life political party, The Monster Raving Loonies of the title. The idea was not to get into office, in fact his colleagues were briefed to never win. He realised that if he stood as a candidate in elections he'd get to pose, in ludicrous costumes, beside the "real" politicians on the podium as the results were read out. He seldom got more than a few hundred votes but that wasn't the point, he became a fixture of UK television's election coverage between 1963 and 1997. Margaret Thatcher got so rattled that she plotted to stop him running against her so she wouldn't be humiliated by his presence and an entire political party, the Social Democrats, folded when he got more votes than them. It was a shot of anarchy in the staid business of voting and one could argue, as they mention in the play, that he was often the only candidate, in his clown-like costume, that wasn't in disguise.
His private life was less rosy though, like many comic creations, behind the mask was a history of clinical depression, failed relationships and hoarding. The house he shared with is mother, to whom he was devoted, was cluttered with junk. Following her death he committed suicide amidst all this debris.
I was expecting naturalistic scenes dramatising his life story. Instead, on Bob Bailey's wonderfully garish "working men's club" setting, dominated by gold slash curtains, the brilliant cast re-enact events but in the style of various UK comedy classics. What appears to be a series of sketches is actually a prism through which to view Such's sad but flamboyant life. The great comedy stars that would have influenced his maverick real life and sense of anarchy are the perfect figures to enact his trials and tribulations.
The much lauded young playwright, James Graham, who put all this together, once again demonstrates his affiliation with Britain's working class in the 1970s; something he first demonstrated in his hit play about the Labour part in crisis during the period, THIS HOUSE, which is soon to transfer from the National Theatre to the West End.
Under Simon Stokes assured and affectionate direction, with farcical moments staged by Cal McCrystal, the cast excel.
Samuel James not only plays the title role but also has to play him in the persona of a constantly shifting range of vintage comedians. Vivienne Acheampong, Joe Alessi, Joanna Brooks and Jack Brown are no less adept at impersonating dozens of stars and comedy shows such as the Carry On team and casts of STEPTOE AND SON, TILL DEATH DO US PART, BLACK ADDER, ABSOLUTELY FABULOUS, MONTY PYTHON'S FLYING CIRCUS, THE GOON SHOW and many many more.
I particularly loved Alessi and Brooks as Alf Garnett and his wife. Simon Stokes could consider dedicating a whole evening to their double act.
A cleverly written, ingeniously staged and performed, insight into a troubled mind.
MOTOWN is a brand new musical that has flown into the West End after a hugely successful run on Broadway. For millions of people their generation is defined by the music of Motown and no matter what your age, this catalogue of hits has something for everybody to enjoy. From classics such as Reet Petite and Shop Around to a medley of Jackson 5 songs and the Stevie Wonder Classic: Signed, Sealed, Delivered I’m yours, this is a Jukebox musical that really lives up to its name. Looking around the audience, it is clear to see that from the very first chord MOTOWN is the perfect night out.