All the Fun of the Fair
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A Fairground Fantasy: All the Fun of the Fair on the West End
The West End has a knack for transforming unexpected stories into theatrical magic, and All the Fun of the Fair stands as a vibrant example of this alchemy. This jukebox musical, featuring the hits of 1970s pop icon David Essex, opened at the Garrick Theatre on April 28, 2010, following previews from April 20, and ran until September 4, 2010, clocking in at around 140 performances. With a book by Jon Conway, direction by David Gilmore (replacing Nikolai Foster from the UK tour), and Essex himself starring as the lead, the show brought a fairground’s helter-skelter charm to London’s Theatreland. Though it didn’t redefine the musical landscape, its nostalgic energy and Essex’s enduring appeal made it a rollicking ride for fans and newcomers alike.
Origins and Inspiration
All the Fun of the Fair sprang from a collaboration between David Essex, a seasoned performer with credits in Godspell and Evita, and writer Jon Conway, known for Boogie Nights. Inspired by Essex’s 1975 album of the same name, the musical was first tested in a 2008 UK tour, directed by Foster, before Conway and Essex retooled it for the West End with Gilmore at the helm. The concept was straightforward: weave Essex’s catalog hits like “Hold Me Close” and “Gonna Make You a Star” into a narrative set in a struggling fairground, a backdrop ripe for drama, romance, and rock ‘n’ roll.
The Garrick production, produced by Alan Darlow, Conway, and Lee Dean, leaned into Essex’s dual role as creator and star, offering a personal twist on the jukebox musical trend popularized by shows like Mamma Mia!. It arrived in a West End eager for feel-good fare post-recession, banking on nostalgia to draw crowds who’d grown up with Essex’s distinctive Cockney croon.
The Plot: A Spin of Love and Loss
The story centers on Levi Lee, played by Essex, a widowed fairground owner grappling with grief over his wife’s death on the Wall of Death a stunt that haunts the narrative but never graces the stage. Levi’s teenage son, Jack (Michael Pickering), rebels against his father’s shadow, falling for Alice (Nicola Brazil), daughter of a shady businessman, Harvey (Christopher Timothy), who threatens the fair’s survival with hired thugs. Meanwhile, Rosa (Louise English), a Romani fortune teller in love with Levi, predicts a future of “danger and mysticism,” adding a layer of melodrama to the mix.
The plot unfolds as a tug-of-war between past and present: Levi wrestles with his wife’s memory, Jack navigates young love and betrayal (two-timing Alice with Rosa’s daughter), and the fair teeters on collapse. A late twist Slow Jonny’s transformation into a biker hero joins Levi and Jack on motorbikes for a rousing “Silver Dream Machine” finale, tying up loose ends with fairground flair. It’s a tale of resilience and redemption, delivered with the simplicity of a carnival barker’s pitch.
A Musical Joyride
The score is a treasure trove of David Essex classics, reimagined for the stage. “Hold Me Close” powers a dodgem car sequence, “Gonna Make You a Star” rallies the fair’s revival, and “Rock On” underscores Levi’s grit. “Winter’s Tale,” penned with Tim Rice and Mike Batt, adds a poignant note to Levi’s loss, while “Silver Dream Machine” roars into the finale with biker bravado. The offstage band, supervised by Olly Ashmore with occasional onstage guitarists, kept the energy high, though Essex’s voice strained through years of wear leaned on charisma over polish.
Critics noted the songs’ loose fit with the story, a contrast to Mamma Mia!’s tighter integration, but fans didn’t mind. The music, paired with Ian Westbrook’s colorful fairground design, evoked a bygone era of neon lights and cuddly toys, making it a nostalgic singalong for Essex devotees.
The West End Run
At the Garrick Theatre, All the Fun of the Fair leaned on Essex’s star power. His Levi was a weathered showman in a pork pie hat, poignant in reflective moments like admitting “the older I get, the better I was” (WhatsOnStage). The cast Timothy as the menacing Harvey, English as the lovelorn Rosa, and Brazil and Pickering as the young lovers brought heart and hustle, with choreography by David Gilmore adding stomping simplicity. The set, though lacking the promised Wall of Death, dazzled with fairground trappings, ending with a neat motorcycle trick.
Running for about four months, the show earned a nomination for Best New Musical at the 2010 Whatsonstage Awards but faced mixed reviews. The Guardian’s Lyn Gardner called it “passably fair,” lamenting its lack of sparkle, while The Daily Telegraph’s Charles Spencer found it “well worth a spin” for its seedy charm. Its modest run reflected its niche appeal Essex fans filled seats, but it struggled to compete with flashier West End giants.
A Touring Legacy
Before and after its West End stint, All the Fun of the Fair thrived on the road. The 2008 UK tour set the stage, and a 2011 revival post-Garrick kept the fairground rolling, with Essex reprising Levi at venues like Wolverhampton’s Grand Theatre. Universal re-released the soundtrack to coincide with the London opening, extending its reach. Though it never crossed to Broadway or spawned major revivals, its touring success underscored its grassroots charm a show built for fans over critics.
Why It Spun Out
All the Fun of the Fair didn’t lack heart, but it missed the mark for lasting impact. The script’s tame modernity touching on divorce and travelers’ plights felt contrived, and the absence of spectacle (like the Wall of Death) dulled its edge. Essex’s songs, while beloved, weren’t woven as seamlessly as ABBA’s in Mamma Mia!, leaving the story a logistical frame rather than a creative force. In a West End of high stakes and polish, its “lovable, daft” vibe (Evening Standard) couldn’t sustain broader appeal.
A Fair to Remember
For West End audiences in 2010, All the Fun of the Fair was a nostalgic spin a chance to relive Essex’s heyday amid dodgems and heartbreak. Its Garrick run, though brief, showcased a pop star’s stage savvy and a fairground’s gritty allure. Today, it lingers as a quirky memory, a jukebox jaunt that didn’t reinvent the wheel but rolled with enough gusto to delight its faithful. In Theatreland’s vast midway, All the Fun of the Fair remains a charming, fleeting ride proof that even a gentle teacup spin can leave a smile.