Men Behaving Badly: The Play Review – A Nostalgic Yet Problematic Stage Transfer
In today's cautious theatre landscape, where familiar titles often guarantee ticket sales, productions frequently evoke nostalgia for cosy nights in front of the television. This trend has seen numerous beloved TV detectives and classic sitcoms, from Morse to Only Fools and Horses, successfully transition to the stage. Now, Simon Nye brings his 1990s peak-time television phenomenon, Men Behaving Badly, to the Barn Theatre in Cirencester, with a play set on millennium eve. However, this theatrical adaptation proves to be a somewhat misconceived comedy that struggles to find its footing.
Casting Conundrums: Impersonation Versus Interpretation
A critical challenge in adapting television for the stage lies in deciding whether the cast should impersonate the original screen stars or offer fresh interpretations. In this production, directed by Joseph O'Malley, the approach is notably inconsistent. Matt Howdon's portrayal of Tony and Tricia Adele-Turner's Deb are impressively accurate impersonations of Neil Morrissey and Leslie Ash, reminiscent of a skilled Stars in Their Eyes performance. Conversely, Ellie Nunn's Dorothy and Ross Carswell's Gary diverge significantly from Caroline Quentin's and Martin Clunes's iconic versions, presenting characters that feel posher and rougher, respectively. This disparity creates a jarring effect, as if two new housemates have unexpectedly joined the familiar flat-share dynamic.
The issue of impersonation is further complicated by a cameo video appearance from Neil Morrissey himself, who appears as a ghost speaking from the present day to the characters in 1999. While this adds a layer of nostalgia, it effectively traps Howdon into a strict mimicry, causing the production to awkwardly vacillate between faithful re-enactment and genuine theatrical acting.
Pacing Problems and Plot Overload
Television-to-stage adaptations often grapple with pacing, as the half-hour format of sitcoms must be stretched to fill a theatrical runtime, sometimes resulting in forced narratives. Simon Nye's script attempts to expand beyond the original TV plots, though it occasionally references memorable moments from the series. The play introduces two concurrent ticking clocks: Gary must marry his heavily pregnant partner, Dorothy, before she gives birth to inherit from a moralistic aunt—a plot device that feels more suited to the 1890s than the eve of the millennium. Simultaneously, Deb returns from Australia, giving Tony just 24 hours to convince her to let him emigrate and wed.
Despite this dense plot, the production, including an extended musical interval entertainingly performed by Neil Jennings and Valerie Antwi as landlord Ken and his girlfriend Eve, concludes after a mere 100 minutes. This runtime feels insufficient to fully develop the narrative or establish a clear tonal stance. The audience is left uncertain whether the script intends to rebuke or celebrate the protagonists' boorish sexuality, a ambiguity that undermines the comedic impact.
Feminist Concerns and Character Reduction
In the original television series, the female characters were notably allowed to enjoy sex, reflecting a relatively feminist perspective for its time. Regrettably, this stage adaptation reduces Dorothy and Deb primarily to vessels for pregnancy and marital plots. Their roles feel diminished, existing mainly to advance the male characters' storylines, which contributes to the overall sense of a misconceived project. This shift detracts from the progressive elements that once defined the show, leaving a bitter aftertaste for fans expecting a faithful yet evolved rendition.
Men Behaving Badly: The Play runs at the Barn Theatre in Cirencester until 7 March, offering a nostalgic trip for devotees of the 90s sitcom but ultimately falling short as a cohesive theatrical experience. While it capitalises on viewer goodwill from the series' 13.9 million-strong finale audience, the production's inconsistent casting and narrative struggles highlight the inherent difficulties of translating television comedy to the stage.
