The Frogs: In Hell They Sing Show Tunes

Can you be entertained by a piece of theatre, even though you don’t always quite know what is going on? The answer in this case is yes.

This lively, camp, singing and dancing adaptation of the Greek classic has passion, strong performances and lots of bare breasted men, who appeared like they would not look out of place at your local gym.

The Frogs was first performed in Athens in 405 BC where it received first prize in a Festival of Dionysus. Remarkably if you visit Athens and head to the base of the Acropolis you can sit in those same raked tiers of stone seats.

Alex Kendall Robson’s adaptation begins with the chorus in a foreboding scene that ends with a loud bang.

Onto the stage enters Dionysus (Pat Mandziy) the God of Theatre and wine – with his trusted slave Xanthias (Eddy O’Leary) laden with suitcases. 

After exchanging dick jokes, they embark on a quest to Hell, where along the way Dionysus learns the sad news, that he is not immortal because he is only a demi-God.

Mandziy looked good in a toga but had the occasional annoying habit of mouthing the dialogue of other characters (perhaps this review will forever cure him of this indiscretion in what was otherwise a good performance).

Leaping out of his skin was Axel Berecry as Heracles. Such was his projection that sitting in the front row I almost copped a spray. Nicholas Starte was a charismatic Hades, and  young Max Fernandez showed his versatility in the role of the Porter.

The title of the show has the sub-heading In Hell They Sing Show Tunes – but there weren’t many show tunes to speak of.

The eclectic songs included the aptly titled Dionysus written by Tomo and Hell by the Squirrel nut zippers.

The chorus of Frogs only ever have a small part in the play, and they made their major appearance in tops hats and green woollen knitted scarves with cute ears (designed by Josh Carter) in a bastardised version of Puttin On The Ritz.

Stephen Sondheim famously made his own adaptation of The Frogs and this jukebox version is not in the same pantheon.

I did like the set from Tom Bannerman, which resembled sails and piano on a wheeled truck. The lighting (Holly Nesbitt) and Sound design (David Wilson) were crisp. Choreography from Dani Bainbridge and nimble cultist was tight.

But the script adaptation, whilst funny in parts, felt it needed another round of development.  The show was mercifully one act.  For me it was an intriguing and mostly enjoyable introduction to the classic.

David Spicer

Photographer: Bob Seary