Brighton Beach Humour at Barbican

The members of the English Touring Theatre assemble in the Barbican’s theatre for their production of A Mad World My Masters, and there is an elephant in the room. Based on the 1605 work by Jacobean playwright Thomas Middleton, this production of A Mad World My Masters has been transposed from the metropolis of 17th century London to the vice-filled streets of 1950’s Soho. Of course, with such a construct, one is almost obliged to consider the National Theatre’s hugely successful production of One Man, Two Guvnors, in which James Corden filled the main role; with a traditional source material updated to a nostalgia-tinged vision of the recent past, an emphasis on slapstick comedy, and a huge amount of bawdy humour, the comparison is inevitable. Sadly, A Mad World My Masters is a disappointment; maybe I am holding it to too high standards, but the whole thing is about as funny as an am-dram production, put on in a village hall.

The whole thing is about as funny as an amdram production in a village hall

With its seedy brothels and wandering ‘ello-‘ello style policemen, mid-century Soho does form a fitting backdrop for the action of A Mad World My Masters, which – like most Jacobean plays – features a number of intertwining plotlines.

The main one centres around Dick Follywit (Joe Bannister), who aims to squeeze as much money out of his stingy uncle, Sir Bounteous Peersucker (Ian Redford), as he can. Along the way we are introduced to Mr and Mrs Littledick – the Jacobeans were anything but subtle – played by Ben Deery and Ellie Beavan respectively, an unhappily married couple; he is overprotective and jealous, she longs for the self-flagellating pimp Pertinent Brothel (Dennis Herdman).

The cast all do a great job in their respective roles, with many imbuing them with a great deal of physicality and verve.

Sarah Ridgeway is brilliant as the prostitute Truly Kidman, whose mother has managed to convince the lads of Soho that her daughter’s virginity is intact. Ridgeway’s lines provide some of the only truly pertinent humour of the play, whether it be exposing the class divisions that accents reveal, or exploiting the foibles of men, making her way in a patriarchal society.

Sarah Ridgeway is truly brilliant as the prostitute Trudy Kidman

The pity is that this is as deep as the humour goes. For the most part, the brand of comedy is similar to that you would find in a Blackpool music hall around 50 years ago. It’s all very much Carry On..., wink-wink-nudge-nudge, postcard humour that went out of fashion long ago. Perhaps it is no surprise that those laughing the loudest came from a sea of silver hair, who were probably alive during the time this type of humour was popular, and can therefore look at it with gentle appreciation.

But then maybe it’s just me; I will freely admit that such jokes just don’t sit well with me. If you’re a fan of sexual innuendo, Barbara-Windsor-style winking to the audience, and play-on-words involving phrases like ‘cunning stunts’, then perhaps A Mad World My Masters is the play for you; as for me, I think it should leave with the tide.

A Mad World My Masters is on at the Barbican Centre until 9th May. Tickets from £10, available online