Only Fools and Horses: The Musical – Newcastle Theatre Royal

Writers: Paul Whitehouse & Jim Sullivan

Based on the TV programme by John Sullivan

Director: Caroline Jay Ranger

Brand recognition plays a key role in a successful theatre production these days. You only need to look at the West End and the tours visiting regional theatres to see that a large proportion of their productions are based on existing intellectual properties, including films, TV shows, or the catalogue of a specific singer or band. Putting a beloved TV sitcom on stage is nothing new and live versions of the likes of Rising Damp, Fawlty Towers, Dinnerladies and Some Mothers Do ‘Ave ‘Em have all proven very successful. However whereas most of these are simply re-enactments of a few of the show’s existing episodes, Only Fools and Horses has been taken in a different direction. Not only have writers Paul Whitehouse and Jim Sullivan made the stage version of John Sullivan’s massively popular show into a musical, they have also attempted to dilute over twenty years’ worth of episodes into a two hour stage show, with varying levels of success.

To this show’s credit, it does perfectly capture the atmosphere of the TV programme. The simple set transforms into decent recreations of famous locations like Peckham market, The Nag’s Head and the horrendously decorated flat at Nelson Mandela House, all effectively supported by a large video screen above. The cast too are extremely well suited to their roles, each of them doing very close approximations of the character that they are portraying, and while they are all effectively playing another actor playing a character, it also seems that director Ranger allowed them a little room to push beyond that limitation. In the central role of Derek “Del Boy” Trotter, Sam Lupton is simply superb: brilliantly encapsulating the physicality, mannerisms and cadence of David Jason’s iconic performance. Although all of the well-known characters are given a chance in the spotlight, this is really Del’s show, and Lupton’s excellent performance is key to the success of this production. Tom Major is also very good as Del’s younger brother and famous “plonker” Rodney, a role one could argue that is more difficult to recreate than the more flamboyant residents of Peckham. Completing the main triumvirate is Philip Childs as Grandad, a lovely, understated performance that nicely contrasts with his two bickering grandchildren.

Of course, Only Fools and Horses was almost equally well known and loved for its memorable supporting characters, all of whom are ably presented here including Trigger (Lee VG), Denzil (Bradley John), the dreaded Driscoll brothers (Peter Watts and Darryl Paul), and Boycie (Craig Berry). The original show didn’t feature many key female characters, although this stage version attempts to readdress the balance by giving them a little more to do, consequently allowing Georgina Hagen as Raquel a couple of numbers to showcase her fantastic singing voice, and for Nicola Munns to show off her versatility by playing the contrasting roles of both Marlene and Cassandra.

So, on the surface Only Fools and Horses: The Musical should be a theatrical sensation, and although it has certainly performed very well financially both in London and on tour, it has some glaring flaws that stop it from being a true artistic success. Firstly, while the decision to make the show a musical was brave, the songs are actually the weakest part of the whole thing. Yes we get the famous title theme tune and closing credits song (Hooky Street), and these are reprised almost ad nauseam, but beyond these two earworms, nothing much in the score is memorable or even notable. There are a few musical highlights including Where Have All the Cockneys Gone? (by Whitehouse and Chas & Dave’s Chas Hodges), and Mange Tout (by Whitehouse) that showcases Del’s malapropisms while giving Lupton some lovely Fosse-inspired choreography. In fact, the whole production would have greatly benefited if they had leaned more into this kind of musical theatre showmanship instead of being so slavishly faithful to the original show.

The script too has issues, overloaded as it is with too many plot strands in an attempt to recreate as many classic scenes, routines and plot points from the programme. This show shines when it slows down and allows the three main characters to interact both with each other and with the supporting players, and there are numerous brilliant jokes and one-liners. However, as good as the actors are, when the side characters are given centre stage, such as a prolonged scene and song with Boycie and Marlene at a fertility clinic, or when Trigger (a character of little words who gains some of the night’s biggest laughs) is given a bizarre number about seeing into Peckham’s future, it feels incongruous and unnecessary. Meanwhile, a lot of the jokes are references to the lore of the original show, no doubt hilarious to fans but they may leave newcomers scratching their heads.

As a “tribute act” to the television programme Only Fools and Horses, this stage production is excellent, and will no doubt please all fans of the sitcom. However, for Only Fools… virgins, or people looking for a satisfactory night of musical theatre, this sadly lacks. Just like the contents of Del Boy’s suitcase, this all looks good, but does not really stand up to close scrutiny.

Runs until 22nd February 2025