Music: Assaf Gleizner
Book and Lyrics: Bob and Tobly McSmith
Director: Michael Gyngell
Bob and Tobly McSmith and Assaf Gleizner are responsible for various musical parodies. This show has been around since 2021, though, tellingly, no cast recording exists. It is a whistle-stop tour through all the most obvious, and one uses that word advisedly, moments of the ten seasons of the phenomenally popular comedy series.
On the plus side, the cast are excellent. Alicia Belgarde conjures the neurotic Monica beautifully, tight body language, high-pitched voice and all. Enzo Benvenuti is a convincing Ross, all his tics and foibles writ large in this script, and Ronnie Burden brings the Goodfellas style amiability of Joey recognisably to the stage. Eva Hope is Rachel to the life, in portrayal and appearance, assisted by Craig Forrest-Thomas’ remarkable hair and make-up design.
Daniel Parkinson manages the trick of doubling a note-perfect Chandler with a well-observed evocation of the terminally nasal Janice. Amelia Atherton’s Phoebe is a broader parody, with less of the relatable amiability of the TV character, though that may be down to the script. Finally, Edward Leigh has lots of fun as the lovesick Gunther, plus various other roles, including Tom Selleck and even Marcel, the monkey. They all sing and move with skill, making for a tight, talented ensemble.
Michael Gyngell’s direction is slick and Andrew Exeter’s scenic design captures the iconic locations of the show very effectively. Jennie Quirk’s costume design is also spot on. The actor’s well-judged accents and characterisations were, apparently, fine-tuned by legendary comedian and impressionist, Jessica Martin.
The parody pulls few punches in highlighting all the absurdities of the series and the necessity for suspending disbelief in so many areas. It is a series of fast-moving vignettes, underpinned by an uneven score, straddling genres. It includes some very close spoofs of known musical theatre ballads and, bravely, even Disney numbers.
The problem is that fast-moving parody works best in small doses. Also, this production relies, almost entirely, on recognition and exaggeration for its laughs, and the inserted jokes are far from subtle. Overall, it misses the charm and the warmth of the series, possibly leaving watchers wondering how such a programme could ever have been successful, let alone the global smash that it was.
Runs until 27th September 2025
