WHARF REVUE 2018: DÉJÀ REVUE

They ask nothing of us.  No requirement for any depth of domestic political knowledge, no necessity to immerse in the Sturm und Drang of geopolitical border drawing and you don’t really even need to have a sense of humour either.  They do it for you, all of it…  THE WHARF REVUE 2018: DÉJÀ REVUE is an exercise in melding the patently obvious with the precisely targeted.  And it begins with some spectacular scarlet pantos and a very early “there’s always a fucken smartarse!

Despite his stunning velveteen fairy-tale-time suit, Buttons is a seriously cranky-pants host who knows his audience and is not afraid to insult them…  An hilarious beginning to tell the story of a Turnbullella who has lost his way until he drops something important at the ball.  The show will continue in panto mode, peppered with locals, for a while.  That is until a ripper of a scene change when a whole wide world of lampoon opens up to our embrace.

And it’s not just that cracker costume or the dozens that come after, or that brilliant set change, the whole 90 minutes is precisely crafted entertainment that is accessible, engaging and beautifully presented.  From the superb graphics of the storybook video that pulls the audience back into their seats after an hysterical Buttons exit, and apology, to a stunning solo from a melancholy Melania, the show doesn’t let up.

And the content?  Take a perfectly nailed list of a tap-dancing Gladys’ disasters … West Connex to the Powerhouse, mix in a dignified and wise Queen, add in the best Russian joke I have heard since you know who took office and you have something for everyone.

The craft of the WHARF REVUE is so much in the condensing of complex situations down to the single image that defines each person as they take centre stage in the huge number of fast and furious skits.  Put him in plus-fours, with a golf club and a graphic of a green behind and you almost don’t need the wig!  Do not get me started on the wigs.  Theresa May? Instant recognition. Every character is instantly identifiable.

Superb visualisation … The choreo is wonderful all the way through (including dabs and krumps and pops!) but really comes into its own when you put a woman behind a whiteboard.  We know who we are looking at, and she rolls with it!

The music is calibrated for familiarity and detail of satire.   Add in swelling recorded strings to the live keyboard and you have the bedrock on which many of the characters stand.  Nightmare Song, Book of Morman, Funiculi Funicula.  Plus there’s a remarkable full company plastic percussion sequence where the pacing and clever use of rhythms are New York Stomp ready.  Just pure talent from this ensemble of Jonathan Biggins, Drew Forsythe, Douglas Hansell and  Andrew Worboys who is also the Musical Director.

And a revelation in the form of Rachael Beck.  Stunning in a red split skirt, her top notes thrilling inside a supremely comic and chaotic turn.  That cleverly constructed red dress is sorely need to offset  Biggins in 70’s stubby shorts … the lower spindles reappear under a kilt later!  It’s a surprise who he might be playing on the latter occasion.  Lots of surprises here but my fave is who plays Pauline in her peep toes shoes at her book launch …  in a section that is malapropped meticulousness in tone.  Fine line officially walked.

And play they do this ensemble.   Despite the extraordinary demands made on them by the complexity and pounding speed of this show they are obviously having a great time.  Moustache debacle or high heel disaster handled with the love of performing and skill ascendant.  Hugely entertaining no matter your familiarity with the many many subjects of their weaponised wit.

THE WHARF REVUE, 2018 has begun its tour at Riverside Theatres, until 15th September and you can read an interview with Jonathan Biggins  here.