JADAR

★★★★☆

Only Fools and Horses: The Musical is a “cushty” example of a movie and television adaptation done right (a rarity despite the increase in movie to musical adaptations), recreating the hilarious absurdity of the well-loved caricature characters from the original sitcom for old fans and new commers alike, and creatively summarising storylines and gags from 7 seasons into a punchy 2 ½ hours of content.

It has that spark of traditional witty British comedy yet still feels relevant and inoffensive unlike to today’s audiences with its Coronation Street-esque peek into the life of working-class Peckham with added sprinkles of dad-puns and slapstick antics that’s sure to get some good belly laughs! It feels rather niche with target audiences mainly being fans of the old series and comedy lovers alike but it’s also a well-rounded summary for new audiences despite several nods and jokes that only the fans would know.

While the music is creative and bouncy like the charismatic and cheeky Del Boy, it sometimes feels a little out of place within the context of the comedy show – one does wonder whether it would be more successful as a play rather than a musical despite their amusing delivery. 

Based on elements of the 1981-2005 show of the same name, Only Fools explores the life of narcissistic swindler and conman Derek “Del Boy” Trotter (Sam Lupton) through his escapades as he searches for love in the starry-eyed and lively Raquel (Georgina Hagen), sells faulty and mis advertised goods, gets involved in dodgy dealings, and lovingly mocks his betrothed “kid-brother” Rodney (Tom Major) and marble-less Grandad (Paul Whitehouse).

Other side plots include literalist Trigger (Lee VG) getting a “blind date”- of course thinking she’s literally blind and wearing the gaudiest outfit imaginable, Marlene (Nicola Munns) and her hoity-toity husband Boycie’s (Craig Berry) fertility troubles in the cheesy ‘Tadpole Song’ referring to his “swimmers” before culminating in sperm-shaped fireworks, and subtle nods to later seasons with grandpa’s nostalgia and his trusty pocket watch. 

Refreshingly, the show is written by the Jim Sullivan (the son of series writer John Sullivan) and comedy whiz Paul Whitehouse who’s appearance as Grandpa and the chatty uncle Albert perfectly encapsulated the charm, tenderness and buffoonery of both characters. While it doesn’t add to the legacy of the show with new storylines, the new music and nostalgic nods to old episodes go a long way in recreating the franchise’s classic hilarity.

Despite being new to the series (and attending with a guest who’s a massive fan of the show), the legacy and impact the show had on comedy and television in the era is palpable, and especially plain to see even in this adaptation. Series lovers can enjoy the teases of the elbow-first bar fall, the sly reference to the chandelier mishap with The Phantom of the Opera fault, references to Del Boy’s previous quirky sales, and even a little nod to their costumes in one episode with “he’s the Robin to my Batman”.

Aside from this, the show is littered with a slew of eye-rolling puns (of which I’m always a fan!), flirtatious humour, physical acting with exaggerated faces, and an array of crazy but loveable characters; there’s dimwits, a poetic gangster (Peter Watts) and their short brother (Darryl Paul), grumpy chefs, goofy giggling yuppies, guarded yet campy dating agents (Richard J. Hunt), and depressed Scousers. 

The show’s biggest achievement lies in the tirelessly recreated characters. Every detail, physicality, mannerism and quirk of the sitcom’s characters are perfectly reflected in their musical counterparts. Grandad’s classic absent-mindedness, cheeky and almost Dick Van Dyke like energy is perfectly matched in Whitehouse’s interpretation of the character, as is Rodney’s tone and childishness.

Del Boy in particular was my biggest concern… how do you fill the shoes of David Jason? I’m not sure but Lupton’s performance certainly came close with that enigmatic charm, silly suave, self-righteousness and underhanded con-man attitude shining spectacularly. He mirrored the enthusiasm and self-assurity of the original Del with hilarious physical humour, the confidently delivered misunderstandings of pop culture and an array of faux French/Italian/Spanish phrases that completely undermine that “cushty”, sophisticated exterior he tries to portray. All in all, a flawless performance from Lupton and the rest of the cast, especially in their confident continuation after the show was paused for an audience related issue. 

Accompanying the stellar cast was a cute set by Alice Power that transported us from the ‘The Nag’s Head’ pub, the market stalls and a cheap diner, to an Italian restaurant, the Trotter’s apartment, and the “romantic” train station. Scenes seamlessly transitioned through short reprisals and overlapping choral song segments as the cast rotated set pieces and brought in new props to match the new set’s aesthetic, whether it be sofas or bar stools.

One particularly stand out prop was the three-wheeled yellow Reliant Regal Van where he stores all his knock offs and dodgy merchandise (leaning Eiffel towers, “mobile” phones, and sock wrist warmers)- a nice nod to the series’ iconic imagery… plus I do love a car prop in a musical! Animations and images created by Leo Flint were also projected just above the main set with the rooftops of London, Italian themed décor, and the clock tower of Waterloo Station (a ‘Brief Encounters’ reference Del mistakes for ‘Close Encounters of the Third Kind’). 

The first song of the show went “lovely jubbly” as the audience all clapped to the rhythm of the original theme tune sung by Del Boy and his chorus of fellow Londoners. It’s a catchy and witty motif that’s sure to get stuck in your head, even if it’s the first time you’ve heard it! Similarly there’s a handful of new songs with that mischievous bouncy beat, matching both Del Boy’s suave confidence and the music aesthetic of London in that era.

Whitehouse’s performance of ‘Where Have All The Cockney’s Gone’ was filled with excitement, with that toe-tapping pub chant aesthetic and the accompanying slang and tongue twisters as the chorus and tempo grew louder and faster before his drunken finale, alongside the horribly catchy ‘That’s What I Like’.

‘The Girl’ was also a strong leitmotif despite not fitting with the style of some of the other music. It introduces us to Raquel and her dreams of confidence and love with that care-free ballad. Hagen’s performance is tender, excited and contagiously starry-eyed here and in her powerful musical outburst in the café during ‘West End Wendy’.

Each song is sprinkled with silly cockney slang, puns, mistaken phrases and the some of the most jovial silliness you can find in musical theatre. Indeed, the almost Fosse like choreography of ‘Mange Tout’ and its mischievous suggestions of “ass” and its faux sophisticated exterior perfectly capitulate Del Boy’s narcissistic false persona, while ‘A Bit of A Sort’ adds to this with a comedic duet about his ideal woman. Despite these touches, not every song feels at home in the musical with ‘Not Now Grandad’ being the first song to focus on the character’s emotions, retorting at grandad’s muttering and arguing with each other.

Despite a catchy hook it feels out of place since most of the songs seem less emotionally focused. Maybe it’s the strangeness of seeing grandad give a sad solo about being ignored (and then this being an ignored theme for the rest of the show), perhaps it’s the song itself, or maybe it’s the oddness of hearing well-known characters from a television comedy burst into this type of song (rather than the chanty or suave songs that feel perfectly in touch with their character).

Additionally, ‘Gaze into my ball’ and its whole fortune telling segment felt like a rather unnecessary stalling tactic, with futuristic synthetic music, awkward lyrics and strobe lighting as Trigger predicts the future: 2024 Peckham. It feels like a sly attempt to mock the strange ups and downs of house prices and an unneeded pause to the show’s otherwise action-packed plot.

However, I did love the couple of well-known songs sprinkled in, which, while surprising, were a refreshing change of pace. While ‘Lovely Day’ was light-hearted and fun, Gloria Acquaah-Harrison’s performance of ‘Holding Back the Years’ was a tear-jerker with her stunning vocal prowess and the building choral accompaniment as Del Boy faces the repercussions of his decisions.

Del Boy’s infamous catch phrase also doesn’t go ignored with the final song both foreshadowing his future fortune and paying homage with the folky ‘Margate This Time Next Year’ (we’ll be millionaires).

Ultimately, not every song fell hook line and sinker but the amount of passion and creativity behind recreating the television show’s characters and storylines, the talent and dedication of the cast and crew, and the classic humour made for an incredible night of laughter and nostalgia. Catch Del Boy in Manchester before he says “bonjour!”

Photo: Johan Persson

Only Fools and Horses – The Musical runs at Opera House Manchester until November 23 2024 and tours the UK until July 5 2025, with a London run at Hammersmith Eventim Apollo from December 17 2024 to January 5 2024.

Photo: Johan Persson