This revival of The Lady or The Tiger at the Tabard is a lot of fun while packing a political punch. The King/Dictator (Wayne Smith, a late cast replacement) of this unnamed land ensures curfews, obsequience, and euthanasia at 65.
His daughter, the princess (Georgie Rodgers), is still “daddy’s little girl” far beyond girlhood, and longs for the grown-up things of life. When a wandering minstrel (Juan Lobo) comes along, what might happen?
With obvious inspiration from The Mikado, this lively show is written by Jeremy Paul and Michael Richmond, with music by Nola York. First staged in 1975, this has the musical feel of shows like The Boyfriend but never seems dated.
The on-stage musicians are MD/pianist Philip Shute and double bassist Angus Tikko, who also contribute vocals when needed. It’s all very lively, sprightly, and conspiratorial.
With Bob Karper (The Factorum) acting as a variety of roles from narrator to prime minister to – well, come and see, it feels like more than four actors are on stage.
A couple of times, there is audience participation, which even worked in a small house for the first preview. The songs are earworms, patter songs, or nostalgic reminders of an early musical age.
It isn’t until an outsider comes into the King’s “perfect” court that his rule of no wages, no thought, deathly bingo and orgies for the masses is challenged.
There seems to be constant battles to be fought, and as the title suggests, a barbaric sense of criminal justice. Costume choices are fun and incogurous – does the Princess really choose those shoes?
Without labouring its points about dictators and democracy, this musical comedy treads light while making you think. A certain director choice in act 2 regarding a peripheral character may give you pause while you laugh.
In a cast that works seamlessly together, Karper shows a sense of comic timing and mischief, while Smith is awfully regal and smug despite no one remembering one good thing the King has done.
Rodgers is a model of frustration in act one, slinky and sultry in act two. Lobo has a fine voice, but plays matters more straight, which balances out the show.
Director Keith Strachan is an old friend of the show, who has been involved from the start and directed it before. His affection and understanding for the piece shines through.
Despite a few formulaic creaks, The Lady or The Tiger will keep you smiling, and it is nice to have a show that isn’t mired in doom or given excessive length, just absurd and silly.
I reviewed this show at its first preview, with thanks to the Tabard for allowing me in early.
The Lady and The Tiger is at Theatre at the Tabard until 23 Mar with tickets here.
***.5
Image credit: Charles Flint