Following the success of its first sell-out adaptation, the Lost Episodes, the latest UK tour of Dad’s Army Marches On was always going to attract a legion of faithful fans. And fans certainly won’t be let down by the show’s characteristic display of charm, wit and folly.
The original writers of the popular veteran sitcom, Jimmy Perry and David Croft, have worked together once more to create a dynamic and endearing script that is faithful to the TV series, yet develops a fresh perspective on some of the best-loved scenes and characters, including their own favourites, Mum’s Army and Branded.
The audience is taken through an uproarious ride of four scenes adapted from the original TV show, as we see former EastEnders star Leslie Grantham put his best foot forward as narrator Private Walker, and Timothy Kightley reprise his leading role as Captain Mainwaring.
All the cast fuse together with a wonderful comedic charisma which kept the audience chuckling right to the end.
The best performance was undoubtedly delivered by old favourite Richard Tate as the brilliantly bumbling Lance-Corporal Jones, who single-handedly executed the famous line-up scene from Young and Beautiful to perfection.
The older members of the platoon try to make themselves look younger to avoid transfer to the ARP, which involves the Captain donning a toupee and the Sergeant wearing a corset.
But it was Richard Tate’s stage movements and bemused facial expressions which really had the audience affectionately hooting with laughter. His comic timing was unmatchable throughout, with the faultless delivery of some of the show’s timeless lines such as, “you’ve got to be ready with the old upward thrust”.
We were once again treated to a more melancholic side of the script in Branded with Private Godfrey, who is shunned by the Home Guard after it is revealed that he was a conscientious objector in the First World War; but all is not what it seems, and Godfrey is revealed to be a hero in his own way.
Self-confessed Dad’s Army fan Maitland Chandler introduces a loveable zing to the role, which collectively captures the audience’s compassion.
The second act develops the unforgettable legion of female characters, including the ostentatious yet infectious Edith, played with gusto by Helen Carter. The female inclusion also introduced a collection of sexual innuendos and sparks of romance, which kept the four scenes forceful and engaging right through to the end.
The show resisted the temptation to climax in an over-long and sentimentalised scene, and instead ended in the way it knows best: with nostalgic delight and only a hint of madcap mayhem. In true Dad’s Army tradition, the theatre was filled with enthusiastic fans old and young attired in the recognisable uniforms. The show was always set to be a sell-out with its devoted platoon of fans, but the family favourite has once again proven to be a classic that can be reinvented again and again.
• Dad’s Army ends its York run tonight.
Grand Opera House, York (01904 678 700).
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