Review: Friends: The Musical Parody (King's Theatre, Glasgow)

The One with Jazz Hands and Sex Jokes

To pay the prices big regional theatres charge, most audiences want something safe, not exceptional. That is why we have so many musicals in general, but specifically why we see mostly touring favourites, jukebox shows, and whenever we do see something new, it is based on a franchise. Such is the case for Friends: The Musical Parody. We are all expecting mediocrity, more or less, but we are still hoping for comfort and comedy. Friends, like other sitcoms from the '90s and '00s, has become a notorious comfort rewatch, and if nothing else, this musical gives some fresh life to the familiar sitcom.

Photo Credit: Pamela Raith

There’s probably more pressure to do these characters “right” than there is for a Shakespearean play. We all know them, and we’ll know when they’re off. Eva Hope nails the stiff and sassy motions of Rachel, amping them up just enough to be a parody, and if you closed your eyes, you could well believe you are hearing her voice. Daniel Parkinson doesn’t have the charisma of Matthew Perry as Chandler, but he makes up for that with his exaggerated but accurate mannerisms. Enzo Benvenuti might not look a whole lot like Ross, but the silly and slightly whiny delivery gets close enough, and it’s not like he’s anyone’s favourite anyway. Amelia Atherton struggles the most of the cast, seeming too nervous and uncomfortable for the carefree Pheobe, but that may be attributed to opening night nerves. Robbie Burden slightly fades into the background as Joey, but he fills the role admirably when the spotlight falls on him. Finally, we have Edward Leigh, who fills in for a plethora of characters (including Janice) and acts as the warm-up guy for the audience, à la live sitcom audiences. The gimmick may be a little patronising at times, but overall it is a welcome original addition.

The structure condenses the major plotlines of the first five or six seasons, weaving in a few fan-favourite jokes from the entire series. Excusing a few anachronisms, it takes us through their stories very well; despite the speed of proceedings, it never feels too rushed. The songs are all based on musical classics, e.g. “Central Park Tango” borrowing from Chicago, and “Part of Their Gang” from The Little Mermaid. It wins everyone over, even if it is uncreative. Although they never lose the plot, they sometimes stray too far from the spirit of the original. The jokes that work best are the ones that break the fourth wall, or comment on the improbability of their world (e.g. how they seem to be in Central Perk before, after and often during work). What becomes more tiresome is the blue humour. The sexy jokes in the show stand out because they are few and far between. Here, those jokes get a surprising amount of attention, and many others are given an unexpected (and unwelcome) lewd edge. It is more off-putting than it is endearing, an impression cemented by stories of people who walked out on Saturday’s matinee because of it.

If you can look past that, or even enjoy it, Friends: The Musical Parody still delivers exactly what audiences want from it. It is easy to say that we should be asking more from modern productions, but even within a critic’s utopia of new writing, original perspectives, and fresh innovations, there will still be a place for productions like this. It offers unchallenging jollity and low-stakes dilemmas with your favourite gang of optimistic twenty-something New Yorkers, much like the show itself. Four stars.

Friends: The Musical Parody has completed its run at King's Theatre Glasgow, and will tour the UK

Photo Credit: Pamela Raith