“A joyfully anarchic journey through Dickensian London and beyond.”
When a stage play has evolved from a radio play, my experience is that they just work. Maybe it’s the approach to devising them and the characters. Maybe it’s the quality of the writers and the development process they go through. Whatever it is, they simply have a greater sense of theatre about them and invariably, it’s a winning formula.
The pedigree for Bleak Expectations easily places it up there with the best of them. A successful adaptation from the BBC Radio Four series of several seasons which appeared over twenty years ago and ultimately moved to the West End stage in 2022.
It surreally parodies the works of Dickens with a huge nod towards the best of British comedy. Like a collision between the golden era of Ealing Studios and Gaumont Melodramas with insanity sprinkled liberally throughout it. In the hands of Saddleworth Players, it finds a home more than equipped to do it justice and an assembled cast who were easily capable of delivering the goods.
Verity Mann not so much directs it but manages the logistics of the unfolding multi-character madness; that is a feat in itself, but thankfully, she knows her stuff. And for anybody who has even a passing knowledge of literature, they will instantly recognise the great works of the 19th century, constantly maligned, sent up and mistreated like no novel should deserve. Well, maybe a bit. Well, maybe a lot.
The humour comes from a plethora of killer lines, but like any good stage comedy, it is roundly rooted in the characters – and what characters, what performances.
The whole thing is strongly held together by the Narrator played by Martin Wadsworth. From a storyline perspective, it is then the blend of ‘gushy-manic’ provided by his younger self ‘Pip Bin’ played superbly by Kelsie Weavill who maintains the pace of the ‘story’ (I use that term in its loosest possible meaning!) sizzling along. His stage siblings Pippa Bin and Poppy Bin provide wholly contrasting but equally engaging comedy performances, delivered by Kiah Lees and Kaytee Mackensie-Pilot. And I really did enjoy (enjoy?!) the latter’s performance as Ripely Fecund. Not only did she win my prize for the best character name but also, the most unnerving love interest.
And I can’t recall any other play where an anvil had such a starring comedy role. (Don’t ask. Go and watch it. It will then make sense. No, it won’t actually).
Angela Walsh as the manic matriarch of this dysfunctional bunch had probably the most diverse range of roles and she was a joy to watch. Every one of them was distinct, engaging and well, utterly mad.
It is hard to keep a running gag fresh and funny, but Mark Hobson achieved it and more besides in his multifarious roles. He was the nearest any of the characters came to ‘normal’ but with his own brand of comedy, he nailed it. (update: he was far from normal)
Duncan Ross beautifully put the drama into melodrama and was excellent. His detailed delivery, stage presence and comic timing were first class.
Joe Doughty played Harry Biscuit, a role which could have easily been misjudged, even lost in the unfolding frenetic storytelling. But he delivered a sound performance as the loyal friend you probably don’t really want!
And then there was Mark Rosenthal who played all four members of the Hardthrasher family. What a family. But to be honest, what a great comedy actor. Again, first class. Unhinged, but first class.
The action was supported by a small company who also took on numerous roles and ensured the action never lost momentum and was seamless.
Ensemble pieces are not easy. This play took that to a wholly different level.
Technically, this company always delivers and this production was no different with a well thought through set design and use of the space; a dizzying array of props and sound and lighting cues complemented the whole.
WS Gilbert was the creator of ‘Topsy-Turvey Dom’ for the Savoy Operas of the late 19th century. Saddleworth Players proved with Bleak Expectations that a 21st century incarnation of it is now available.
Great to see so many unfamiliar faces to me on this stage. New works and new actors. What more could you possibly want other than to go and see it? And you really do need to go and see it.
And finally, what was it actually about? I have absolutely no idea!
Martin Paul Roche – First Night Reviews https://martinpaulroche.com/
Bleak Expectations’ by Mark Evans.
Presented by Saddleworth Players and directed by Verity Mann.
Millgate Arts Centre: 10th – 17th May 2025 at 7.30PM.
Tickets available at: https://millgateartscentre.co.uk/events/bleak-expectations/
