The Card

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The Card: A Musical Tale of Ambition on the West End

The Card, a musical with a book by Keith Waterhouse and Willis Hall, and music and lyrics by Tony Hatch and Jackie Trent, premiered at London’s Queen’s Theatre in the West End on July 24, 1973. Based on Arnold Bennett’s 1911 novel, this comedic romp ran for 130 performances, closing in November 1973. Directed by Val May and produced by Cameron Mackintosh, it starred Jim Dale as the enterprising Denry Machin, tracing his climb from washerwoman’s son to mayor through guile and fortune. Revived in 1994 at the Open Air Theatre in Regent’s Park, the show blended catchy tunes with a sharp script, offering a quirky slice of British musical theatre that, while not a blockbuster, retains a loyal following for its charm and wit.

Origins and West End Premiere

Inspired by Bennett’s novel, *The Card* was adapted by Waterhouse and Hall, known for *Billy Liar*, with Hatch and Trent hitmakers of the 60s crafting its score. Mackintosh, then an emerging producer, brought it to the Queen’s Theatre after successes like *Oliver!*. Jim Dale led as Denry, joined by Millicent Martin as Ruth Earp, Joan Hickson as Mrs. Codleyn, Marti Webb as Nellie Cotterill, and Eleanor Bron as the Countess of Chell. Gillian Lynne’s choreography added flair to May’s staging, set against Tony Walton’s designs. Though it nabbed Drama Magazine’s Best Musical award, its four-month run reflected a tepid box office, overshadowed by glitzier contemporaries like *A Little Night Music*.

The Plot: A Climb Through Chance and Cleverness

In Victorian Bursley, Denry Machin tweaks his school marks at 12 to snag a scholarship, then at 16 joins solicitor Mr. Duncalf’s firm. Gatecrashing a grand ball, he dances with the formidable Countess of Chell, earning his “card” nickname a character who stirs tongues. Quitting Duncalf’s employ, he turns rent collector, then profits from shipwreck sightseers. His boldest scheme, the Five Towns Universal Thrift Club, lets members buy on credit from his partnered stores, swelling his wealth. A staged coach “rescue” of the Countess secures her patronage, propelling him to councillor and mayor. This tale of pluck and luck skewers ambition with humor, ending in a triumphant, if cheeky, rise.

Standout Performances and Staging

Jim Dale’s Denry was a revelation his elastic charm and vocal agility won hearts, fresh off *Barnum*. Millicent Martin’s Ruth sparkled with sardonic edge, while Joan Hickson’s stern Mrs. Codleyn grounded the comedy. Marti Webb’s Nellie and Eleanor Bron’s Countess added warmth and hauteur. The 1994 Regent’s Park revival, directed by Ian Talbot, starred Peter Duncan as Denry, with Jessica Martin, Hayley Mills, and Jenna Russell, its open-air setting amplifying the whimsy. Lynne’s original dances like the ball’s swirl popped against Walton’s Victorian vistas, though the revival’s simpler staging leaned on character over spectacle, earning praise for its intimacy.

Musical Score and Reception

Hatch and Trent’s score bubbled with 70s pop flair “It’s the Only Way to Win a Girl,” “Money Isn’t Everything,” and “The Universal Thrift Club” carried a breezy charm, though less intricate than Sondheim’s work. Critics lauded its “tuneful zest” (*The Stage*), but some found the book “slight” (*The Times*), craving deeper stakes. The 1994 rewrite with Anthony Drewe sharpened lyrics and axed weaker songs, adding “Move On Up” for punch. Audiences enjoyed its lightness Dale’s charisma a draw but its 130-performance West End run suggested it lacked the era’s blockbuster pull, overshadowed by *Jesus Christ Superstar*’s flash.

Legacy and Revival

The 1973 run birthed a cast recording and a cult following, though it never hit Broadway. The 1994 Regent’s Park revival, running July to September, rekindled interest with a reworked script new songs like “A Wonderful Day” joined classics, earning warm reviews. Amateur stagings persist, fueled by its licensing via Concord Theatricals, and a 2009 CD of the revised score keeps it alive. While not a West End titan like *Les Misérables*, its tale of a chancer’s rise resonates with fans of Bennett’s wry humor and British underdog stories, a sleeper hit that proves modest ambition can still shine.

Why The Card Endures

*The Card* charms with its scrappy hero and sly take on Victorian hustle, a David-versus-Goliath yarn wrapped in toe-tapping tunes. Its West End debut showcased Dale’s star power, while the 1994 revival honed its quirks for a new crowd. Less grandiose than Lloyd Webber’s epics, it thrives on intimacy Denry’s cheeky ascent a mirror to human ingenuity. In a theatre world of bombast, its quiet wit and provincial pluck offer a refreshing detour, a musical that winks at success without taking itself too seriously, ensuring its place as a beloved, if understated, West End curio.