A Funny Thing Happened on the Way to the Forum, Olivier Theatre, NT, London

Gaudy and bawdy revival lives up to the hype as a cornucopia of delight

Paul Taylor
Saturday 10 July 2004 00:00 BST
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

The rousing opening number is a brazen sales-pitch: "Something that's gaudy, Something that's bawdy, Something for everybawdy, Comedy tonight!" But the knowing cheek of it is simply irresistible. Besides which, as Edward Hall's blissfully hilarious Olivier revival now demonstrates, A Funny Thing Happened on the Way to the Forum succeeds in living up to this hectic hype.

With an entire chorus emerging from a theatrical wardrobe basket and a climactic high-kicking line-up five minutes in, the musical prelude here comes over as a rip-roaring finale.

And that's as it should be, because this 1962 Broadway musical - boasting a glorious gag-fest of a book by Burt Shevelove and Larry Gelbart and the first score for which Stephen Sondheim wrote the tunes as well as the lyrics - gives a spiffy, spoofing American vaudeville spin to the Roman farce conventions of the dramatist, Plautus, a third century BC guy who had earlier helped Shakespeare out with the plot of Comedy of Errors.

A delirium of good, clean, filthy fun, the plot is propelled by the wily, manipulative slave Pseudolus who has to struggle with the escalating complications that ensue when he attempts to secure his freedom by securing a match between his master's blond, dimwitted, virginal son Hero (Vince Leigh) and the even blonder, dimmer and more virginal courtesan Philia (Caroline Sheen).

The course of true chicanery never did run smooth and the premature return of his master, not to mention the grandiose arrival of the braggart soldier Miles Gloriosus (a ludicrously thick, muscly-thighed and macho Philip Quast) who has already bought but not collected Philia, are not kind to the collective blood-pressure on stage.

The delicious thing is that, at the centre of this cartoon heterosexual frenzy we have the incomparable figure of Desmond Barrit, playing Pseudolus, constantly tipping the wink that we're watching a piece of theatre, and as incongruously camp as row of Welsh wigwams. To use a nice Roman word, this is a cornucopia of delight.

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in