Tickle The Musical – King’s Head Theatre,

Tickle The Musical continues at the King’s Head Theatre, London until 26 October 2019.

Star rating: three stars ★ ★ ★ ✩ ✩

The world of male competitive endurance tickling is a phenomenon previously unknown to this reviewer, despite there being a film, Tickled, that has won several awards and was kickstarted by Stephen Fry.

With a dark side to the financial machinations involved, the sport has been involved in accusations of coercion against those who take part then wish to leave and has always defiantly disassociated itself from any ‘gay’ overtones. With advance publicity stressing the ‘non-gay’ element of the sport, I was open minded as to what to expect.

The show comes down on the side of camp, dominated by the character of Tina Tickle (Richard Watkins), a controlling drag queen who plots and schemes with Davina Diamond (Amy Sutton) to exploit Chris (James McDowall) and Callum (Ben Brooker). Tina could be a great part, but sadly though Watkins has the acting ability, he doesn’t have the vocal chops to make a real impact.

Sutton, who has impressed this reviewer in shows like the Ministry of Biscuits, proves again that she is a talented actress with a flexible and versatile singing voice, whether in her opening number ‘It’s Not Gay’, or the jazzy ‘Silver Lining’.

McDowall and Brooker, in the early stage of their careers, acquit themselves well in the roles of two best mates attracted by the large sums of money, with a rather clichéd sub plot about one being gay and nursing an unrequited love for the other.

There are some interesting songs, well sung, notably Brooker’s singing of ‘Callum’s Dilemma’ and McDowall in ‘Suddenly I’m Rich’. Their duet early on in the piece, ‘Beautiful’, is charming with an accompaniment in its opening bars reminiscent of Sondheim’s ‘Another Hundred People’.

Direction by Robert McWhir keeps the plot moving for its 70 minutes, putting the emphasis on the broad comedy, even when dealing with the exploitation of Chris and Callum, so the plot never really becomes believable.

Book, lyrics and music are by Chris Burgess, and though there are some good songs with interesting lyrics, sung unamplified with exemplary diction, there are some that feel extraneous to the plot and characters and are included just to keep the action bubbling, not least the finale ‘What Would Julie Andrews Do’. A great fun song, but it feels tacked on to provide a feather adorned closing number. Musical direction is by David Eaton from the keyboard.

The show is a romp, enjoyable for its zany humour, its attractive performers  and the inventive lyrics and music. Though it does touch on the very successful internet hits the film clips acquire, generating vast sums of money for all involved, it doesn’t convince, and you’re left with the feeling that it’s just a pantomimic plot, not something based on a dangerous and ambiguous reality.

Leon Ferguson