You Beautiful Ewe reviewed

Adam Taylor – Rogues and Vagabonds

There are many, many reasons to visit Camden:  to experience the market, the designs, the bohemian hairstyles, the piercings, a chance glimpse of Amy Winehouse falling out of a doorway. Going to see a children’s musical about singing sheep, however, may not be high on your list of priorities from a trip to this eclectic North London crucible of diversity. That is exactly what I did, though, with my visit to The Etcetera Theatre, hosting part of this year’s Camden Fringe Festival, to see a charming debut performance of You Beautiful Ewe, the all singing sheep musical. There aren’t many of these about, I’m sure!

This proved to be a delightful, witty and stylish production which would bring a smile to the face of even the most cynical and animal loathing critic and I’m sure that The Scenic Route’s production was one of the most ingenious and unusual enterprises showcased at this year’s fringe festival. In a children’s show that would not look out of place in the Edinburgh Fringe, the audience are taken on a charming ramble through the love lives and friendships of a collection of sheep. No, you did read that correctly, sheep. It is bonkers. But it works. It really works. Although this narrative transpires to be very simplistic, as it should for the young audiences it is intended for, Tammy Mendelson’s tight and economical direction assures that the audience is very gently encouraged to take the leap of faith and start to care for these farmyard characters and their woolly shenanigans. Mendelson’s stroke of genius is that she paints such a vivid picture of a farmyard with the most basic theatrical devices and yet opens the show up with blink-and-you-miss-them subtleties which bring added warmth and impeccable style, such as showing the sheep knitting with the grass (or even themselves!) Most effective were the hilarious chorus of bickering sheep that are kept from becoming twee and bland by improvising and all having detailed personalities of their own (Emily Butterfield and Fiona Rose Boylan in particular). 

The joy of Mendelson’s cheeky production is that it knows it isn’t King Lear. It is a gentle children’s show with a simple ‘good versus bad’ narrative and Mendelson ensures her production is filled with a cartoon-like, comic-strip energy which really captures a sense of joy and a pantomimic celebration of fun. The musical’s lyrics by Nick Pegden and the book written by the director and Margaret Tice, is threaded with inspired, gentle puns (the ‘evil’ sheep is called, ‘Baabs’, of course) but also a moral theme of anti-bullying and the importance of celebrating individuality, which never feels heavy handed or over-played: It remains more of a theatrical fable than a fairytale but is still enchanting.

It is Nick Pegden’s bravely assured and uplifting music that is the jewel in the crown of this show. It is rare to see a new musical and enjoy nearly every song. It is also rare to hear such an impressive score played on just a single piano. It is especially rare to leave the theatre humming the tunes and wishing that they hadn’t ended. All of which I and my 7 year old guest felt after hearing Nick Pegden’s music which resonated with a Kander and Ebb-like wit and Sondheim-esque harmonies and dexterous word choices. The show boasts a repertoire of ranging styles and genres of music all of which refuse to jar and never appear to be added for the sake of it: a tender and subtle love song one minute (we actually almost forget that the singers are meant to be sheep!), followed by a ‘bluesy’ number by a hungry wolf, dressed ominously in an apron and tie, followed closely with a 1940’s, ‘Baahbershop’ style, jazz number the next. All the singers were in fine voice. Even a song about self sufficiency is fun but a bolder number to open the show which reflects Pegden’s virtuosity and alludes to the show’s overall bold charm may be required to entice the audience into the show more quickly. 

The child-like yet evocative set fits the tiny space(and budget) like a glove and threads into the narrative and characters seamlessly, such as the gag-telling, woody Allen-like cockerel narrating the story with a pop-up picture book which mirrors the set, thus adding the element of ‘a play within a play’ to entice the young audience in further.

It is a shame that this production has such a limited run above the pub in Camden as it could have continued to impress and delight many more children and adults with its wit and vivacity. I look forward to following The Scenic Route, in the assured hands of Tammy Mendelson and Nick Pegden to see what they produce next:A production of Hedda Gabler re-created  in the farmyard setting as Hedda Gobbler, a musical about a suicidal, disgruntled turkey, perhaps? Ewed be mad to miss it I’m sure.