Theatre Review: Bugsy Malone

AD: This Press Night Review refers to the July 2022 touring production of Bugsy Malone at the Birmingham Rep*

Staging a show like Bugsy Malone is no mean feat. Largely because the show, based on the 1976 Alan Parker movie, is packed with young performers. Meaning anything could go wrong. But the talented cast on show tonight could easily grace any stage and compete with any grand dames of the theatre world. It’s Press Night of the revival of universally acclaimed Lyric Hammersmith Theatre Production of Bugsy Malone.

We could’ve been anything that we wanted to be

Bugsy Malone is the tale of two gangs of mini-mobsters in Prohibition era New York, led by Fat Sam and Dandy Dan. There’s a new-fandangled weapon in town, and it’s time for a turf war. The weapons of choice are cream pies rather than bullets; these gangsters are strictly cutesy. Meanwhile all-round nice guy Bugsy Malone is lovestruck by new girl in town Blousey Brown. He’ll do whatever it takes to raise the money to get her to Hollywood.

The plot is almost superfluous though, a fragile thread which links spectacular set pieces. The jokes are corny at best, but this production is highly entertaining. Gangsters, gunned down with alarming frequency, are resurrected after their death scene with a shrug. Returning to the action, they are highly likely to receive another deadly cream bullet.

Far from being precocious, the prepubescent performers are super-confident. Three young casts rotate the principal roles, supported by a slightly older ensemble, many recent drama school graduates. There are big careers ahead for some. They tackle the typical gangster roles – wise-cracking mobster, sequinned showgirl, seductive moll – with aplomb.

Fat Sam’s ain’t humble, but it’s your home sweet home

The slightly meandering accents only add to the charm, and there is a frisson of unpredictability. The young stars strike a fine balance between innocence and sassiness. One can only imagine the logistical nightmares of staging a touring production with a cast of 39, many of whom are only grazing their teenage years.

At this Press Night performance we were treated to Gabriel Payne as Bugsy Malone; Mia Lakha as Blousey Brown; Albie Snelson as Fat Sam; Jasmine Sakyiama as Tallulah; Aidan Oti as Fizzy; Cherry Mitra as Lena/Babyface and Desmond Cole as Dandy Dan.

The smouldering Tallulah (played by Jasmine Sakyiama) is loosely our narrator, commenting on the action. Sakyiama nails both the New York accent and second half opener “My Name is Tallulah” with a confidence which belies her youth. And Mia Lakha has a great future in musical theatre ahead of her if her renditions of “I’m Feeling Fine” and “Ordinary Fool” are anything to go by.

Albie Snelson demonstrates great comic timing as crime boss Fat Sam, cheekily addressing the audience, engaging the orchestra pit and griping about having to do his own scene changes. Desmond Cole is the perfect foil as diminutive despot Dandy Dan.

Lady luck is fickle, but a lady’s allowed to change her mind

Gabriel Payne shines as the charismatic Bugsy Malone, particularly during the showstopping number “Down & Out”. He commands the stage, easily leading the ensemble of slightly older performers. And the mournful frailty of “Tomorrow” is performed beautifully by Aidan Oti as Fizzy, a juvenile janitor dreaming of life on the stage.

Fat Sam’s speakeasy is bright and vibrant behind the moody shadows of backstreet New York. We move seamlessly between late night club, boxing gym, warehouse and docks. Props appear seemingly out of nowhere. There is a surprisingly exhilarating car chase scene. Full credit goes to set designer Jon Bausor and lighting designer Philip Gladwell for the slick staging. The diminutive characters are engulfed by oversized outfits, perfectly matched to the period. The height discrepancies between some of the cast members add to the fun.

You give a little love, and it all comes back to you

The Oscar-winning score by Paul Williams is excellent, with a perfect mix of emotion and energy. The music is perfectly complemented by sparkling choreography from Olivier-winning Drew McOnie. Exhausting number “So You Wanna Be A Boxer” is particularly well executed (and is Mr Fletche’s favourite number). The slapstick is seamless too, from banana skin pratfalls to performers being flung around the stage like rag dolls by Leroy (played by Mohamed Bangura).

A colourful and dazzling production with a joyous and uplifting extended finale. I may have shed a tear or two. Or maybe there was just a little custard pie in my eye.

Bugsy Malone continues at the Birmingham Rep until the 14th August.

All production photos: Johan Persson