I Should Be So Lucky - Theatre Royal Plymouth – until 09 December 2023 and touring.

1*: Cormac Richards.

Box Office 01752 267222

www.theatreroyal.com

Running Time – 2 Hours 15 Minutes (One Interval)

4th December 2023

“Lazy, outdated, tacky nonsense.”

The jukebox musical has become that bit too prevalent on the theatrical circuit these days. Some work really well, some just about pass muster and some plumb various depths.

‘I Should Be So Lucky’ is a new iteration using the songs from ‘80s trio Stock Aitken Waterman whose work remains enormously popular; what it lacks in sophistication it makes up for in fun and humability.

Writer and director, Debbie Isitt, is best known as the creator of the ‘Nativity’ franchise; the stage show of which I am an admirer - a warm-hearted, funny, emotional and uplifting show. Sadly I cannot say the same about her latest venture.

The plot for ‘I Should Be So Lucky’; girl is jilted at altar, takes family and friends to Turkey where she was meant to be on honeymoon where she falls in love with a local. Groom, who did jilting, follows her. They fall in love again, so do some others and they live happily ever after – that’s about the size of it. It is akin to ‘Benidorm’ and ‘Mamma Mia’ shoved in a blender and with a bit of ‘Don’t Tell the Bride’ for good measure. Isitt appears to put down her pen after the first five minutes as, after that, she writes nothing more of consequence.

A flimsier piece of theatre you won’t see; Peppa Pig has more depth. For most of the show nothing happens; the copious number of songs add nothing to the ‘plot’ and one follows another as rats follow the Pied Piper. What is left is toe-curling dialogue pitted with occasional smut and double entendre which makes the ‘Carry On’ films look like the work of Shakespeare. Peppered with cultural and sexual stereotypes the it is lamentable.

With a high reputation largely born out of his work on ‘Strictly Come Dancing’ one might expect something special from choreographer Jason Gilkison, but it is pretty ordinary and one gets the feeling the heart wasn’t exactly in it; whenever I see performers dance holding a chair above their heads in order to put it on stage, I know ideas are short.

The stage designs have had money thrown at them and are effective enough, but the overload of the heart shape is on the edge of stomach-churning.

The performers battle to break out of the one-dimensional characters they have been given; they are no more than cardboard cut-outs. Even the appearances of Kylie Minogue – as a projection in a mirror - becomes repetitive and tiresome. The singing is generally good and there is enthusiastic performances throughout the cast; but to this viewer it is a lost cause.

There is an audience for this show and a voice over from Pete Waterman before the show begins encourages everyone to dance and sing along at the end; a staple of these productions. However, it is a feeble theatrical experience where there is little thought, little writing, little imagination, no heart, no warmth – you couldn’t care less about any of the characters - it has no magic and no sparkle. What is left is lazy, outdated, tacky nonsense which does no one any favours.

Cast

Ralph Bogard – Hassan

Kayla Carter – Bonnie

Jamie Chapman – Spencer

Jemma Churchill – Ivy

Matthew Croke – Nadeem

Jessica Daley – Britney

Gary Davis – Big Mike

Sydney Issit-Ager – Helen

Melissa Jacques – Shelley

Aidan Nightingale – Revel Harrington III

Billy Roberts – Nathan

Giovanni Spano – Ash

Lucie-Mae Sumner – Ella

Anna Unwin – Olivia

Creatives

Music & Lyrics – Stock Aitken Waterman

Writer & Director – Debbie Isitt

Choreographer – Jason Gilkison

Set & Costume Design – Tom Rogers

Lighting Design – Howard Hudson

Sound Design – Ben Harrison

Musical Director- John Hodgson