Benidorm Live

★★★★☆     Bawdy

Edinburgh Playhouse: Mon 17 – Sat 22 Sept 2018
Review by Thom Dibdin

Boldly brash – and brazen with it – the live musical version of ITV hit Benidorm combines plenty of recognition for the show’s fans with the kind of comedy that would make a panto dame blush.

Six of the TV regulars make it to the stage and writer Derren Litten has plenty of fun for them to get up to. But first he eases those who are new to the programme gently in, with the arrival at hotel Solana’s front desk of posh couple Sophie and Ben, whose original (much superior) hotel has over-booked.

The cast of Benidorm Live. Pic: Paul Coltas

Without the pool-side footage and shots of over-weight holiday makers chowing down all-you-can-eat breakfasts available to the TV show, the status of this all-inclusive resort is established by passing sun-seekers making lewd comments about inflatable crocodiles.

It’s deftly done and any newbie could hardly miss those who have become regulars on the TV show either, as they are cheered to the rafters on their first appearances. Although newcomers would be forgiven for thinking the original was a lot more foul mouthed than it really was.



Otherwise it is pretty much business as usual with a sort of extended remix, without the quick-fire editing, of a coda to the TV shows tenth and final – so says Litten – series. It has as much content as a new episode, but takes its time to tell it. And leaves everything open for a cheeky wee eleventh series if he likes.

The plot, when it eventually arrives, concerns the takeover of the Selena by a bigger hotel chain. Sharp-tongued manageress Joyce Temple-Savage has found out that the new owners are not pleased with the way the Solana is run and has sent in an undercover assessor to report back.

sharp and splenetic

It’s hardly a spoiler to say that, as you would expect with such a plot device, Joyce will jump to the wrong conclusion about who might be doing the undercover assessing. Nor would it be unfair to remark that the consequent mix-up will provide the basis for much of the ensuing comedy.

Tony Maudsley and Adam Gillen. Pic: Paul Coltas

Sherrie Hewson shows some of Joyce’s sharp and splenetic side in the opening scenes, rounding on guests and staff alike. She’s quite happy to parade her prejudice about local staff member Ricky (Will Jennings) but when Tricia Adele-Turner’s Sophie shows the same attitudes to the Spanish staff, she uses it to score scathing points against her.

Hewson rather fades away in later scenes without a proper foil to work against – largely because she is reduced to one-sided phone conversations mostly designed to help the plot along.

The phone call is an easy device to deploy and Litten rather over-uses it, notably with a running gag with hairdresser Liam on the phone to his dad – cross dressing Lesley Conroy who is doing time for tax evasion. It’s fun to have news of Les, but it is all a bit pointed and, really, there isn’t any need

Adam Gillen as Liam and Tony Maudsley as outrageous hairdresser Kenneth of the Blow’N’Go have plenty to offer in the way of laughs. Even if there is little of the innuendo that permeates the TV show – replaced by entendres so obviously painted in bright shades of blue that you would be hard put to describe them as double.

notorious swinger

Things gets even more vulgar with the appearance of Janine Duvitski as notorious swinger Jacquline, who reminisces without remorse abut the tendencies of her departed husband (who was, of course, played by the late Kenny Ireland, one-time artistic director of the Lyceum).

Bradley Clarkson and Janine Duvitski. Pic: Paul Coltas

As a musical this has its moments – the scene introducing Jake Canuso as lothario barkeep Mateo, where he seduces Sophie while Bradley Clarkson’s Ben stands disconcertedly by is excellently done. The male Solana Staff providing a proper chorus, but there is not enough of it.

The second half, when everyone repairs to Neptunes night club for the evening entertainment is rather better served on the musical front, with Asa Elliot letting rip on a couple of karaoke standards.

Shelley Longworth, who is underused throughout as holiday rep Sam, has a delightful middle range voice and the whole saucy postcard schtick is given a resounding Yeah Hah! slap around the nether regions in a rendition of Rubber Ball that could be sub-titled Donkey to Ride given her accompanying actions.

It’s easy to be snooty about Benidorm – and part of its appeal is the way it laughs at those who are so. A closer look reveals a show which is properly inclusive in many ways. So, while Benidorm Live’s over use of crass comedy is easily forgiven, its all-white casting – in contrast to the TV – feels a lot less easy to pass by.

However, by the time the whole auditorium is on its feet for the finale, dancing along to Y Viva Espana, you’d be forgiven for forgetting how many cracks in the Benidorm carapace have been papered over to get there.

Running time: two hours and 10 minutes (including one interval)
Edinburgh Playhouse, 18 – 22 Greenside Place, EH1 3AA.
Monday 17 – Saturday 22 September 2018
Evenings: 7.30pm, Matinees Weds, Sat: 2.30pm.
Click here to buy tickets.

Benidorm Live website: www.benidormonstage.com.
Twitter: @benidormonstage.
Facebook: @benidormonstage.

Jake Canuso ‘Mateo’ and Tricia Adele-Turner ‘Sophie’. Photo Paul Coltas

ENDS

Tags: Adam Gillen, Asa Elliot, Benidorm, Benidorm Live, Bradley Clarkson, Derren Litten, Jake Canuso, Janine Duvitski, Kenny Ireland, Musicals, Playhouse, Review, Shelley Longworth, Sherrie Hewson, Tony Maudsley, Tricia Adele-Turner, Will Jennings