Rumpy Pumpy! – Landor Theatre

The cast of Rumpy Pumpy! at the Landor Theatre, London. Picture: Richard Davenport

Rumpy Pumpy! continues at the Landor Theatre, London until 19 April.

Star rating: 2 stars ★ ★

Based on a true story, Rumpy Pumpy! takes us to Hampshire where two feisty, open minded WI members are campaigning for the legalisation of prostitution and better, safer conditions for working girls. It’s a good idea for a musical. There are delicious potential contrasts between two female groups and it’s high time we had a decent WI tale to replace Calendar Girls, arguably now a bit weary. So far so good.

Unfortunately, the show is pretty raw – one wonders how much rehearsal time they’ve had? – and it often feels like a work in progress, perhaps by a sixth form or drama school group rather amateurishly staged in the Landor’s generous playing space.

For a start there’s an uneasy feel about the period. Whereabouts in time are we meant to be? It feels like a historical piece, perhaps set in the 1980s, and yet everyone has mobile phones. There are, moreover, too many unanswered questions, subplots and implausibilities.

What has led the WI campaigners to this? We first see them visiting the Portsmouth brothel at the heart of the piece, but they would never have been invited while customers were present. And I’m not sure that digressions, such as the domestic violence endured by one of the girls in her own home, adds much other than to the show’s length.

I have reservations about the twee title too, although it makes for some quite jolly songs. Neither the prostitutes nor the liberal campaigners would use such a coy euphemism.

Flawed as the show is overall, there are some memorable things in it including the singing (although not, sadly the acting) of Joanne Sandi who has a most unusual, intensely musical voice, especially in the lower registers. Mandi Symonds, fresh from Robert Icke’s 1984 at the Almeida, brings real energy, anger, humour and warmth to her role as Holly, the brothel manager and she sings with terrific passion.

Valerie Cutko’s formidable stage presence as lead campaigner, Jean Johnson, works quite well, and there’s enjoyable cameo work from Matthew Pennington and Adam Scott Pringle who play all the male roles between them. There are also some nicely balanced ensemble numbers (manfully accompanied by MD Tom Marlow on keyboards) laid out in Gilbert and Sullivanesque verses interspersed with chorus interjections, although on the whole the tunes are much better than the lyrics and book, all by Barbara Jane Mackie.

It would be good to see this idea reworked and developed. It has legs but isn’t yet standing on them.

Susan Elkin