Stinkfoot, a Comic Opera

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Stinkfoot, a Comic Opera: An Eccentric West End Adventure

Stinkfoot, a Comic Opera is an offbeat English musical with book, music, and lyrics by Vivian Stanshall and Ki Longfellow-Stanshall, originally crafted for the Crackpot Theatre Company aboard the Old Profanity Showboat in Bristol. While not a traditional West End production in the vein of grand theatres like the Apollo Victoria, it earned its place in London’s theatrical lore through a limited showcase in the West End at Bloomsbury’s The Thekla in 2010. This absurdist tale of a washed-up music hall artiste and his feline co-star blends Stanshall’s Bonzo Dog Band eccentricity with Longfellow-Stanshall’s Broadway-inspired flair, delivering a salty, surreal romp that defies convention.

Origins Aboard the Showboat

The musical’s roots trace back to a series of children’s stories by Ki Longfellow-Stanshall about Stinkfoot, a roguish New York alley cat, shelved after a literary agent’s rejection. Revived in 1985 by Stanshall and Longfellow-Stanshall, the project took shape aboard their 180-foot Baltic Trader, Thekla, moored in Bristol. First staged in December 1985, it was a labor of love, thrashed out in late-night sessions and performed on the ship-turned-theatre. Its West End moment came decades later with the "Stinkfoot Showcase" on July 20-24, 2010, at The Thekla’s temporary London berth, featuring a condensed two-hour version with a full band and select cast, hinting at its potential for a broader audience.

The Plot: A Seaside Spectacle

The story follows Soliquisto, a once-celebrated music hall performer now relegated to end-of-pier gigs. His act once dazzled with trained animals a singing parrot and two dancing cats, Stinkfoot and Persian Moll but nine years prior, Stinkfoot vanished, leaving Soliquisto with Moll, his nephew Buster, and a ventriloquist dummy, Screwy. Set alternately atop a pier and beneath the sea, the narrative dives into absurdity with cynical flounders, a giant squid, and a James Cagney-inspired tomcat (Stinkfoot himself). It’s a tale of regeneration triumphing over despair, wrapped in a nautical fever dream that’s as loony as it is poignant.

Performances and West End Showcase

The 1985 Bristol run featured local talent, with Stanshall’s madcap energy driving the production. The 2010 West End showcase at The Thekla in Bloomsbury starred Nikki Lamborn, the couple’s daughter Silky Longfellow-Stanshall, and Tony Slattery as narrator, backed by a full orchestra. Critics like The Guardian’s David Foote lauded its “funny, bluesy, and loony” charm, while The Times’ Richard Gilbert hailed its “watery tale” of moral triumph. Though brief, the London stint drew attention from Mojo and BBC outlets, spotlighting its oddball brilliance amid the West End’s more polished offerings.

Musical Score and Stanshall’s Signature

Vivian Stanshall’s score bursts with wit and variety, from the rollicking “You Can’t Confound A Flounder” to the haunting “Drowned Sailor’s Song.” Songs like “What My Public Wants BLOOD!” and “Parakeet To Meet You” reflect his Bonzo Dog Band roots, while others, like “Ready Maid of Stone,” find new life in this theatrical context. Longfellow-Stanshall’s Broadway influence adds a melodic sheen, creating a soundscape that’s both nostalgic and anarchic. The published script (Sea Urchin Editions, 2003) preserves these gems, though the full experience demands a stage to match its vibrancy.

A Fleeting West End Legacy

Unlike long-running West End staples, Stinkfoot’s London presence was a fleeting showcase rather than a full production, ending after its 2010 dates. Plans for a 2011 revival fizzled, leaving its West End mark as a cult curiosity. The original Bristol run and its script publication keep its spirit alive, bolstered by Stanshall’s artwork and Longfellow-Stanshall’s introduction. Its brief Bloomsbury appearance teased what might have been a full-scale West End hit yet its legacy endures as a testament to creative daring over commercial polish.

Why Stinkfoot Captivates

Stinkfoot, a Comic Opera thrives on its sheer strangeness a seaside odyssey that marries music hall whimsy with oceanic absurdity. It’s not Lloyd Webber’s grandeur or Sondheim’s intellect, but a singular concoction of Stanshall’s eccentricity and Longfellow-Stanshall’s storytelling verve. Its West End cameo proved its allure, drawing crowds to a show that smells of “the salt sea,” as Foote noted, with echoes of Coward, Cagney, and Mae West. For fans of the unconventional, it remains a hidden gem, begging for a full revival to unleash its quirky magic anew.