Only Fools and Horses: The Musical – New Theatre, Oxford

Book, Lyrics and Original Score: Paul Whitehouse and Jim Sullivan

Director: Caroline Jay Ranger

There is no doubting that Only Fools and Horses is one of the most beloved British sitcoms of all time. It achieved that iconic status through a special combination of brilliant writing and memorable ensemble acting from a talented cast. In many ways, it is surprising that it took so many years for a stage version to be created.

It is clear that Paul Whitehouse and Jim Sullivan both love and revere the source material as what they have created is very much an homage to the original, a tribute show, in many ways, that works hard to include all the most adored moments from the episodes. Whether that be Del falling through the bar or mention of the chandeliers, all of those highlights are fitted into the show.

Caroline Jay Ranger’s direction keeps things moving at a good pace and is well served by Alice Power’s set which captures the feel of 1980s Peckham without being slavishly bound to the aesthetics of the show. Special mention must also go to Catherine Benson as Musical Director and her band. Their work holds the production together with a well-balanced sound and some rich textures from a team of only five players.

Much of the success or failure of such an adaptation comes from how new actors can bring the characters to life in a new environment. The risk is in finding the balance between impersonating the original cast and making the roles your own. On the whole, this cast got this just right.

Sam Lupton shines as Del Boy. He has the mannerisms and the voice spot on but he adds his own energy that stops it from feeling like a copycat. He absolutely has the audience eating out of the palm of his hand and he has an infectious joy that leaves people wanting more.

As Rodney, Tom Major is making an impressive professional debut. He gets the character just right – the perfect levels of gangly awkwardness and frustrated ambition. Along with the gloriously voiced Raquel of Georgina Hagen, the central casting is impressively secure.

There were a number of understudies stepping up this performance and they each did so seamlessly. Peter Watts (Boycie) and Amanda Coutts (Marlene) make for a delightful couple that honours the original whilst feeling fresh. Amanda Coutts also doubles as Cassandra and there are probably many in the audience who do not realise the doubling until the curtain call.

Where things are less impressive are in the handling of the narrative arc and the quality of the music written for the adaptation.

By being so respectful of the original and the undeniable desire to include as many fan favourite moments as possible, the script feels more like a series of vignettes rather than a satisfying piece of storytelling. This is most noticeable at the end where the plot just disappears.

The new music, whilst serviceable, is not memorable. There are understandable references to a range of other musicals including Blood Brothers, Oliver! and A Chorus Line but it does not add up to a series of musical numbers that drive the story or enhance our understanding of the characters.

This does not stop it from being an entertaining production. Everything is delivered with love and energy. As a piece that celebrates a British institution, it is hard not to love it. The near-sell-out audience certainly joined in with that feeling of nostalgia. As a musical, it is lacking. But with performances as strong as these, it is pretty much the definition of a crowd-pleasing hit.

Runs until 15 March 2025 and on tour