Review: CHARLIE AND STAN, Theatre Royal Bath

At a time when we're getting too many words, words, words from a bumbling Prime Minister and his cronies, what a relief to discover a charming, kind and life-affirming silent movie-style production that harks back to simpler times. The enticing live piano score by composer Zoe Rahman, is the dialogue, aided by the odd ditty (song arrangements by Sophie Cotton) and clever projected captions taking you back to the heydays of Victorian music hall and Hollywood silent pictures.

From an idea by Irene Cotton, and superb writing and direction by Paul Hunter (I'd love to see how he laid out the script), plus cracking performances from a superb ensemble cast, the audience is treated to a fictional unfolding of what might have occurred when a young Charlie Chaplin and Stan Laurel sailed on the SS Cairnrona, as part of the Fred Karno comedy troupe, from Liverpool to New York in 1910.

In a series of vignettes, we witness the ship's departure, Stan meeting Olly, rivalry between the two comics, a later reunion and the beginnings of a new world for both men in America. There's even a flashback and a flash forward, and terrific audience interaction. If you're in the front of the stalls, be prepared to be gently wooed by Chaplin and even take over from the brilliant pianist (a fabulous Sara Alexander) when she joins the actors on stage to play Chaplin's mother.

Hunter, co-founder and artistic director of Told by an Idiot, says the company was determined "to value fiction over fact, fantasy over reality, and shine a very unusual light on a pair of show business legends". This means a wonderful romp involving incredibly well-crafted physical comedy with precision timing - essentially pure theatre that comes from the heart.

Everything is brave and fresh in Charlie and Stan, from colour- and gender-blind casting (Chaplin is played by a multi-talented woman, Danielle Bird, and Laurel by endearing mixed-race Jerone Marsh-Reid from Stoke-on-Trent), to seemingly effortless pratfalls, magic tricks and chases that you know required many hours of rehearsal to get absolutely right.

Equally, the set by Ioana Curelea (who also designed the monochrome costumes), with suitcases, steps, the ship's funnel and a gangplank - which doubles up as Chaplin's parallel bars - has hidden depths: literally. Trapdoors abound and whacky props (think seagulls, fish and condiments for Chaplin's dinner) pop in and out to add to the magic of the evening.

It's difficult to know who not to name or praise in this joyous piece of theatre. I'd happily list everyone in the programme. One standout actor who mustn't be omitted, however, is Nick Haverson, who nearly steals the show in his witty character performances: of Fred Karno (evilly flicking his cigar), channelling his inner Max Wall as Charlie's drunken dad, being hugely snooty as Chaplin's butler, and carrying out a costume change onstage to become Oliver Hardy playing golf at Pebble Beach.

A special shoutout goes to physical comedy consultant Jos Houben, too. Equally, Nuna Sandy for ZooNation should be applauded for the choreography; the tap/clog dance alone is worth the price of admission.

One missing star, alas, was Reggie, playing Scraps the Dog, Chaplin's famed pooch in the film A Dog's Life. New to the business, Reggie's already sat on the knees of Nigel Havers and Sheridan Smith, but was sadly indisposed. The audience was informed, fittingly on a scrap of paper in the programme: "Due to unforeseen circumstances (a very badly behaved dog), at tonight's performance the part of Scraps will be played by the very talented puppet Shep." So delightful, we thought the puppet understudy was another fun gag, but found out from a friendly usher that Reggie had indeed misbehaved. Presumably, the shamed French bulldog puppy is now hunting for a new agent and having furry publicity shots taken.

With regards to Covid safety, theatre staff responsibly suggest that audience members sanitise their hands and wear masks. Most complied, with only a handful stubbornly refusing. Also, you can buy drinks at the bar and bring them to your seat. The production runs for approximately 90 minutes (the time whizzed by, as we were all having so much fun) and there's no interval - maybe a blessing, as there's less chance to mingle. At the end of the performance, we left safely row by row, as guided by helpful ushers.

Charlie and Stan works for everyone. It's cross-cultural, you don't need to speak English to understand what's going on, and if you're hard of hearing you won't miss key pieces of dialogue. I'd dearly love to see Culture Secretary Oliver Dowden in the audience to understand why it's so important to give financial assistance and all the back-up possible to keep talented actors and backstage staff like those in this admirable production going. Otherwise, we'll lose them, and audiences will miss out on beguiling moments that take you to a place free of meaningless words - but that say a great deal.

Charlie and Stan is at Theatre Royal Bath until 24 July and is then touring. For more information, visit toldbyanidiot.org

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