If Ben Elton's Blackadder met Oliver Cromwell and musical theatre, then you would have a funny musical extravaganza called B*rst*rds. It explores history in a way that is not only extremely well written, but has the appeal of making it enjoyable by adding original songs that are relevent to the plot, engaging and extremely rude without being insulting or crude.
A vibrant hit that will be a modern classic that gives musical theatre a much needed boost
In this context, we see Oliver Cromwell at his most powerfully corrupt and William D’Avenant, the poet, writer and potentially William Shakespeare's illigitimate child, in the Tower of London serving his sentence for being a to traitor the country in supporting the last royal family. The two men meet in the Tower and what emerges is a potential partnership that could change the course of history forever. The issue is how far would you go to ensure your own freedom?
Written by Will Holyhead (director) and Alex James Ellison (musical writer and director), B*rst*rds is a collaboration that is not only reminiscent of classic tv shows such as Blackadder and Upstart Crow, but a showcase of what can happen when you write a musical that is well designed for two people with little to no set and just a keyboard for the musical accompanyment. Holyhead and Ellison respectively create moments that are humourous, insightful and musically engaging, as well as paying respect to the period.
The acting brings well defined characters that are solid and easily recognisable, through Holyhead's detailed direction. Oliver Cromwell has an essence of both Rowan Atkinson and David Mitchell as he settles into power and asserts his will over his chosen victim. At times his vocals are a little quiet, but it could be to do with his being a last minute replacement for this role and at times refers to the script on the table to make sure he is on track. Once the script goes, he becomes a character we love to hate and is more solid on his choices. I would say to him trust the words more as he was pretty much off book the majority of the time. His acting partner playing William D'Avenant on the opposite scale has strong vocals, suitable for any theatre space and commands his audience well whilst channelling his inner Tony Robinson with an element of Ben Elton. He showcases the brashness of the role well, but is also not afraid to bring a tear to the eye as he is given a tough choice. Sacrifice his art to get his freedom, or stick to his guns for the love of his banned work. Between the two of them, they have a strong partnership which has a dynamic chemistry that beams when they banter, jibe and insult each other that it becomes interesting to watch.
Add to that Ellison's musical talents and B*rst*rds becomes a vibrant hit that will be a modern classic that gives musical theatre a much needed boost once the script is taken away and trusted more.
