We are a father/daughter working partnership, writing new and exciting Musical Theatre in Bristol.
Our latest project is POOTER The Musical. Based on ‘The Diary of a Nobody’, the action takes place from where the original Victorian diary ends. We take the characters on a new and exciting journey, with hilarious results!
POOTER The Musical
The musical is based wholly on the George and Weedon Grossmith novel, The Diary of a Nobody (1888). The action is set in the late nineteenth-century suburb of Holloway, and is centred around the ‘Diary’s’ somewhat accident-prone and highly-strung anti-hero, Mr Charles Pooter.
We meet Charles Pooter, and his friends and relatives post diary, with the action following on from where the diary finished. Much to the dread of those around him, Charles has become convinced that he should stage a musical production of his personal diary. It soon becomes clear, even for those not familiar with the Grossmith’s novella, that the diary is merely an unconsciously self-important epistle to suburban banality. Whilst equally unintentionally – on the part of Charles – it is littered with Pooter’s hilarious domestic forays and social faux pas that have come to be know endearingly as ‘Pooterisms’.
As the actors assume their roles the fun begins, and begin to adopt a certain amount of artistic licence, in particular in how they themselves are portrayed. Comedic imitation becomes the order of the day, and with it raw nerves are exposed and tempers frayed. Arguments, disagreements and strained relations ensue, and throughout it all Pooter never fails to take himself as seriously as ever; a fact that Gowing uses to his own comedic gratification.
Humour is derived from his efforts to paint his standard of living and ultimately himself as more a member of the upper middle-class rather than the lower middle-classes he actually represents. This is contrasted sharply with the way in which he is viewed by his ‘hired help’ – Mrs Birrell and Sarah. Through their matter-of-fact no-nonsense cockney wit, we witness Charles’ often ridiculous pretensions and misjudged pride, especially when offended by suggestions that he is to be portrayed as drunk; he is in total denial that he often drinks excessively, after all he is a bastion of middle-class values such as hard work, marriage and sobriety.
However, Charles’ true goodness and love for his family and friends wins through, and we leave the Pooters with issues resolved, happily celebrating en masse the small success of the musical, as well as a new addition to the Pooter family.