Betty Blue Eyes: HAODS pulls off a quirky show with an obscure plot

HAODS Production of Betty Blue Eyes at The Capitol - Gilbert (Andrew Donovan), Joyce (Tess Kennedy) and Ensemble

HAODS have proven over the years they can tackle musicals of all shapes and sizes- the traditional to the modern, the crowd-pleasing hits to the darker more artistic, and now the turn of the downright quirky with ‘Betty Blue Eyes’ – a musical adaptation of the 1984 film ‘A Private Function’ which was itself adapted from Alan Bennett’s original screenplay.

In a show that’s about post-war rationing there was more than a fair share of comedy for the audience to enjoy as they were transported by the Direction of Yvonne Chadwell into the micro-climate of a little Yorkshire village, where the pig thieving antics & coronation preparations (very timely!) sit alongside post-war Britain and the struggles of social climbing.

The plot centres around austerity Britain (1947 not 2023!) where belts are being tightened and nobody is allowed more than their ‘fair share’. Meanwhile, the local Town Council are planning a “very private function” with a select guest list of “somebodies” to celebrate the impending Royal Wedding of Princess Elizabeth and Prince Philip and have hidden a pig (Betty - which in an entertaining turn one of the town council members is in love with!) who is to be the star of the feast. However, village “nobodies” Gilbert & Joyce Chilvers (and batty old Mother Dear) uncover the plot, steal the pig… and hilarity ensues!

Mild mannered chiropodist Gilbert Chilvers is played by Andrew Donovan. Usually seen in more villainous roles, this may be a departure from the norm for him, but it suits him superbly as he creates true affection for his character as a gentle man just trying to do the best for his family. His rendition of ‘The Kind of Man I Am’ was particularly endearing.

Allerdyce (David Johnson) + Betty (Kirstie Mitchell Betty Handler)

Gilbert’s more outgoing half is Joyce – a strong willed lady with a clear plan and Tess Kennedy more than fulfils the brief playing the part with real conviction and excellent comedic timing. ‘Nobody’ is a particularly strong number as she owns the stage and draws the audience into the world of this character who is desperate to be a somebody but in fact feels a ‘nobody’. The relationship between Gilbert & Joyce was touching- they made a very lovable and believable married couple.

Completing the Chilvers family is the outrageously batty Mother Dear played by Hazel Wellcome. Accompanied by her trusty can of spam and with her food thieving tendencies she is simply hilarious with a particular highlight being ‘Pig, No Pig’- a comedic and complex song which must have been a challenge for the trio but they pull off perfectly.

Another excellent trio are Dr Swaby, Henry Allardyce and Francis Lockwood who bring fantastic moments of hilarity to the show – from a particularly a notable scene in the Gentlemen’s toiletsm, to Allerdyce’s goofy obsession with Betty the pig (Gilbert and Henry singing an ode to Betty in ‘Betty Blue Eyes’ was an enjoyably ridiculous yet heart-warming moment). They also offer some excellent close harmony singing in numbers like ‘A Private Function’.

All the above were complimented by an extensive cast of supporting characters with big personalities – from bratty Veronica Lockwood (played by Sophie Pullen on the night I saw but I’m sure just as brattily portrayed by Amelia Douglas!), to the surreal pantomime-esque villainy of Meat Inspector Wormold. I would love to name everyone which is testament to how strong HAODS are as a company, but particular mention has to go to Betty’s Handler, Kirstie Mitchell who truly mastered the art of puppetry to make Betty the most charming pig to ever grace the stage! Another mention must go the ‘Magic Fingers’ trio of Rachel Dale, Kat Merrick and Jane O’ Sullivan for some spine-tingling harmonies that brought a touch of well-placed sombreness to the plot. Musical Director Andy Stewart did a fantastic job of bringing out these moments. Other great uplifting moments came from the big ensemble numbers like ‘Another Little Victory’, and the big dance number in the Primrose Ballroom expertly choreographed by Jackie Shepherd.

Of course, it’s not just the on-stage cast that need credit here – it’s clear a lot of hard work has been put in behind the scenes. A big congratulations should go to the in-house HAODS backstage team who built the theatre-sized set from scratch in the HAODS house workshop. Combined with lighting and projection by Dan Barnes made for very effective staging.

Betty Blue Eyes is definitely an quirky show with an obscure plot – after all it is partly a love story about a pig – but pulled off by HAODS talent both on and off stage. And what’s next for them? A total change of pace as they head to the 60s for upbeat dance musical ‘Hairspray’ at The Capitol this November (tickets already on sale!)