It was bound to be difficult going to see Jeeves and Wooster without having any preconceptions. There have been many interpretations and incarnations of the famous duo, the most successful undoubtedly Messrs. Fry and Laurie. John Gordon Sinclair who appears as Jeeves in this touring production I only remember from Gregory’s Girl and I must confess I found it difficult to imagine him as Jeeves. It wasn’t that I didn’t have high hopes, it was just difficult for me to see where they might go with it.

Well, where they went with it was somewhere completely new, though not entirely original. There was a distinct feeling of déjà vu as the adaptation draws extensively on the format of The Woman in Black and, to a lesser extent, The 39 Steps. To add to the fun a pinch of Voices Off is added for flavour.

The action takes place on an empty stage complete with all the backstage paraphernalia and, at the beginning at least, very little scenery.  The play consists of Bertie recreating the events of recent escapade with Jeeves and his aunt’s butler, Seppings, roped in to play all the other characters.

This has now become a tried, tested and enjoyable format and whereas Woman in Black is played for screams, Jeeves and Wooster is played for laughs and undoubtedly it works well. James Lance makes a suitably daft and very likeable Bertie Wooster, playing to the audience as though to the chaps in the Upper Fifth dorm during a midnight prank. Jeeves, as always, is tolerant and indulgent and press-ganged Seppings struggles to keep up.

Bertie is always Bertie but I lost count of the characters played by the two butlers. Both John Gordon Sinclair and Robert Goodale (who is also co-writer) excelled in their many and varied guises. Mr Sinclair was hilarious as the short-sighted, newt-loving Gussie Fink-Nottle but I think he was funniest as love interest, Stephanie with her lovely little dog. Mr Goodale, as the put-upon Seppings, was equally energetic in a frock but it was as Sir Roderick Spode that he (and we) had the most fun. Pitching his characterisation somewhere between Adolf Hilter and Salvador Dali he was straight out of Arturo Ui. Struggling to reach the required height, he stands on whatever comes to hand but finally settles on a monstrous eight-feet-tall contraption on which he is wheeled on and off. This was almost puppetry and grotesque puppetry at that and for me, the best thing in the show.

There were other glorious moments too. I loved the car sequence especially when it was forced to stop at a level crossing and there was an excellent front-cloth scene which was like something out of an old music hall.

Though very derivative this was well done and very funny – though in a constant smile, rather than belly-laugh, sort of way. Very enjoyable. ★★★★☆  Michael Hasted     11/11/14

Photos by Uli Weber