Romantics Anonymous – Bristol Old Vic

Romantics Anonymous continues at the Bristol Old Vic until 1 February 2020, ahead of a major tour of the United States.

Star rating: four stars ★ ★ ★ ★ ✩

Chocolate-making may be something of an esoteric occupation, but it has inspired the likes of Roald Dahl (Willie Wonka) and Joanne Harris (Chocolat) to highly successful books and films centred around its participants. Now Emma Rice has had her shot at this most splendid of professions, coming up with the book and direction for Romantics Anonymous, a joyous musical from her own Bristol-based company Wise Children, linked in with Plush Theatricals of New York.

Originally it was Rice’s final production as artistic director of Shakespeare’s Globe theatre in London, following her acrimonious departure in 2017 in conflict with the board over artistic style. Now it is delighting audiences at the Bristol Old Vic ahead of a tour of three major American cities.

With music by Michael Kooman and lyrics from Christopher Dimond, it is based on the 2010 French-Belgium film Les Émotifs Anonymes and tells the gentle tale of talented chocolate maker Angélique, played with charming reticence by Carly Bawden, held back only by her own timidity.

Jean-René, owner of the struggling chocolate factory where she eventually finds work (an emotionally fragile Marc Antolin), is equally gawky. So it is no surprise that their relationship takes a painfully long time to develop, allowing Rice to explore her familiar theme of two awkward people eventually finding the courage to declare their love.

Just like the chocolate they make, there are bitter touches to their relationship – and not just because of their shyness. Both are in danger of being crushed by parental pressures. Angélique’s flamboyant mother (played with bravado by Me’sha Bryan) is as brassy as they come, while the ghost of his dead father (Craig Pinder) is driven by an overpowering belief in tradition, although this doesn’t stop him participating in the trademark Rice gimmick of singing in the foyer during the interval.

None of this detracts, though, from the sheer delight of a show as light as a chocolate bonbon, shaped by the energy of the cross-dressing ensemble; Kooman’s French-flavoured score; Dimond’s delicious lyrics; and choreography from Etta Murfitt that swings from high-kicking chorus numbers to hints of Fred and Ginger.

There is a clever ‘take’ on Alcoholics Anonymous, with the protagonists attending a sort of Emotionals Anonymous, and Rice’s humorous barbs encompass everything from snooty French waiters to a flying finale, in which the lovers soar, bungee-assisted, over the stage, reminiscent of one of her greatest triumphs, The Flying Lovers of Vitebsk, about the modernist painter Chagall. Musical director Tom Brady, on piano, leads a splendid on-stage quartet of musicians and the neon-dominated set is based on Lez Brotherston’s original design.

It is impossible to leave the theatre without a smile on your face.

John Houseman

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