Originally published by L.S. Media. November 13th 2008.
Cast: Michael Hugo, Anthony Hunt, Matt Connor, Neil Caple, Craig Rogan, Ruth Alexander-Rubin.
Once more the Northern Broadsides theatre Company play to their strengths and adapt a play of note and turn it majestically on its head.
With previous success in Liverpool theatres with Much Ado About Nothing, Lisa’s Sex Strike and the sensational Man With Two Gaffers, Accidental Death of an Anarchist managed to top them all and played at a pace that left you breathless.
Dario Fo’s masterpiece was transferred from 1970’s Milan to an updated setting of modern day Bradford. Don’t let this distract you from the genius of the play though as Dario Fo’s satirical plays are described as “Forceful”, “Wittily Anarchic” and “Often disturbing”.
Certainly the former is much in evidence, especially with the unusually smaller ensemble (rather than their larger cast productions) lead by the manic and utterly charming actor Michael Hugo, whose turn of phrase, expression and use of the ridiculous will surely lead him to even bigger and better parts in time. Michael Hugo on stage seems to be able to combine the comic timing of David Jason and the madcap energy of Lee Evans.
By stealing the show early on, the other actors in the cast could have fallen at the first hurdle but Anthony Hunt as the ladies man Detective Inspector Bertozzo, Matt Connor as the wonderfully described constables 1 and 2, Craig Rogan as the typical macho, leather wearing D.I Pisani, Ruth Alexander-Rubin as the investigating journalist Maria Feletti and local favourite Neil Caple as the D.C.I (The Guv) dug deep and gave performances worthy of the night.
Even with Niel Caple dropping a small clanger by getting a couple of words muddled up in the 2nd act, it still received genuine laughter for which the extremely talented actor sheepishly acknowledged.
Much credit though must go to three people off stage who made this production go down a storm.
Beverly Norris-Edmunds whose choreography work with the cast absolutely stood out. In a demanding business the footwork and positioning are sometimes overlooked but were certainly much in evidence as the complicated action took place.
Conrad Nelson whose directing was a joy to behold as he bought the play to life with what can only be described as a wonderful sense of panache. You undoubtedly get the impression that Conrad Nelson loves this kind of theatre,
Most of all, much praise must go to the adaptor of the play Deborah McAndrew, by keeping any play bang up to date is a hard task, to keep it flowing at such a pace is rare. Ms McAndrew managed to do both. By also keeping in the references and subtle winks to those who read between the lines and saw the corruption that can be anywhere if left untreated, for that alone Ms McAndrew deserves full applause
Ian D. Hall