Review: BETTY BLUE EYES, Union Theatre
Photo credit: Michaela Walshe
The Union Theatre’s first in-house production since the pandemic Betty Blue Eyes has opened, twelve years after the original acclaimed West End production. Despite a much smaller theatre, this show puts its best foot forward for a night of great musical theatre entertainment and one that the original creatives can be proud of.
Betty Blue Eyes opens with the song ‘Fair Shares For All’ which includes lyrics such as “of late we've succumbed to this feeling, we don't think the system really works.” With your eyes shut, you may believe this show is about the difficult social and economic times we’re currently living through, but the year is 1947. The war is over but things in England are not yet prospering. We meet Joyce and Gilbert Chilvers, a married couple in a small West Yorkshire village.
Times are hard and the local people are failing to show each other much compassion, most notably as chiropodist Gilbert and his wife fail to receive an invitation to an exclusive function celebrating the marriage of Princess Elizabeth and Prince Philip. In order to get their revenge, they plot to steal the party’s intended meal, an illicit pig, who the show’s named after.
Amelia Atherton and Sam Kipling as Joyce and Gilbert give strong performances, though feel a little young for their roles and this mismatch is consistent across most of the casting. Atherton’s serious yet humourous Joyce has a feel of Sarah Lancashire, who originated the role on the West End. Whether intended or not, viewers of Happy Valley know this inspiration is never a bad thing and Atherton’s performance feels effortless. From Gilbert’s first solo stage moment in ‘A Place On The Parade’, it was clear that Kipling was going to be the standout performer in this show. His clumsy awkwardness feels almost too believable and he also delivers touching moments well, with his second half number ‘The Kind of Man I Am’ earning him the loudest applause of the night.
The full supporting company matches the energy of the two leads and helps to ensure smooth transitions between scenes. Movement within this show feels easy despite clearly being intricately directed and choreographed by the creative team. The moments of dance in particular that slip in from characters that feel unexpected are very pleasing to watch. Kasper Cornish’s choreography succeeds in adding a lot to what makes this show so enjoyable.
Betty Blue Eyes has no scarcity of songs, with over 15 musical numbers, not including reprises, played superbly by a small band. They produce a fantastic, much fuller sound than expected from just three players. As none of the cast wear microphones, there’s nowhere to hide for the ensemble vocals in Betty Blue Eyes, but Aaron Clingham’s expert musical direction shines through with loud and clear harmonies throughout.
How could we publish a review without talking about the title character herself? A babe in patchwork, she feels bizarrely lifelike whilst being puppeteered by ensemble member, Georgia Boothman. Betty is beautifully brought to life in her design and creation. Whilst she may have a small role, she leaves a huge impact on her audience.
With enough foot puns to make Kinky Boots jealous, thrown in with more rashes of piggy jokes than 100 ration books could afford, Betty Blue Eyes is more than just a lighthearted show about a pig. A strong new production of a show that audiences won’t want to wait another 12 years for.
**** Four stars
Reviewed by: Cat Hancock
Betty Blue Eyes plays at the Union Theatre in London until 22 April, with further information here.