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TONY! [The Tony Blair Rock Opera]
18th July 2023 - 22nd July 2023
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Nicholson Green Productions presents the Park Theatre production of
TONY! [The Tony Blair Rock Opera]
By Harry Hill & Steve Brown
‘Look anyone will tell you, I’m a pretty straight sort of guy.’
Tony Blair
A reckless reappraisal of the life of former Ugly Rumours front man and Britain’s first pop Prime Minister Tony Blair.
The story of how one man went from peace-loving, long-haired hippy and would-be pop star to warmongering multimillionaire in just a couple of decades. Throw in a stellar cast of larger-than-life characters – Cherie Blair, Princess Diana, John Prescott, Peter Mandelson, Alastair Campbell, Osama bin Laden, George W Bush, Saddam Hussein and Gordon Brown – it’s Yes, Minister meets The Rocky Horror Show! and a musical like no other.
A hilarious musical of political intrigue, religion, power, and romance; this rip-roaring new show by Harry Hill and Steve Brown received critical acclaim following a sold-out run at the Park Theatre in London.
Running time: 2 hours 10 minutes (including interval)
‘Harry Hill puts the party into politics’ – The Guardian
★★★★★Daily Mail
★★★★★Theatre Weekly
★★★★Observer
★★★★The Times
★★★★The Sunday Times
★★★★Mail on Sunday
★★★★London Box Office
★★★★Musical Theatre Review
★★★★The Reviews Hubs
★★★★Broadway World
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Event Reviews
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Linda
Terrific performances by all the very talented actors and musicians of an extremely clever and well written musical, reminding us all of the events and characters of the Tony Blair years.
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Karen
Brilliant!! Cast were amazing. An uplifting, refreshingly un pc show!! Superbly written. Thoroughly enjoyed it, laughed so much it hurt! So Harry Hill😁
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The View from the Stalls
Timely and very funny, regardless of your political persuasion!
The Tony! which was on stage last night could have been a very different animal indeed. Harry Hill had originally envisaged a juke box musical of cheesy 1970's hits based around Tony Blair's rise and fall. Thankfully co-creator Steve Brown was having none of it, instead determining that any show would feature new songs and lyrics. And so this "rock opera" was born, featuring a cast who take on all of the big names of the Labour Government during the Blair years and before. Indeed, the story starts, rather alarmingly, with Blair's actual birth (!) but then, this is Harry Hill at his inventive-best…
The song titles themselves are an indication of the developments during those Labour years - New Messiah, The People's Princess, Kill The Infidel, Bombs Away, He's a liar and The Whole Wide World (full title to be revealed later!)
Jack Whittle plays Blair with tremendous accuracy, encapsulating all of his somewhat robotic movements and insincere smile and voice right from the moment that he popped into this world with a beaming smile, through his boyhood and teens until finally he became an Oxford student and a peace-loving, long-haired hippy . How things then changed, much of it down the somewhat slimy creature that is Peter Mandelson (brilliantly played by Howard Samuels who always had the audience on his side, especially during the balloon trick.) We had Cherie Blair, of course (Tori Burgess), lynchpin to his success and born in the northern heartland of Bury (Blair himself being born even further north but in Scotland so that doesn't count!), Gordon Brown (Phil Sealey), another Scot and in competition with Blair for the PM post and the upper bunk in college, Neil Kinnock (Martin Johnston), all ginger hair and Welsh accent, John "2 jags" Prescott, another Welshie (Rosie Strobel), a bizarrely-accurate Robin Scott, serial womaniser played here by a woman, Sally Cheng, and Princess Diana (Emma Jay Thomas) bemoaning the dreadful tribute to her in Hyde Park. The actors doubled up for many of the other characters of the era, which included a (very) brief appearance by John Smith, David Blunkett (with pooch), various world figures including George Bush, Saddam Hussein and Osama bin Laden and also an appearance by Mick Jaggers(!), all instantly recognisable.
It is, of course, useful though not essential to know who these politicians are and what they were (in)famous for (Blair, for example, puts more emphasis on the fact that foxes are safer due to his ban on hunting than the fact that he dragged the country into four wars, one which will always be defined by the spectre of imaginary Weapons of Mass Destruction). But a cynic would view this as the way it is with politicians. Replace these individuals by Boris Johnston, Dominic Cummings, Matt Hancock - same incompetence, same sleaze, different colour…
The show ends in a style which would have been equally at home in Mel Brooks' 1967 film The Producers. With each cast member parading a large placard of one of the world's "baddies" to the final song (full title - The Whole Wide World is run by Assholes), the reverse of each placard when put together form a massive image of today's worst asshole, Putin. A fitting and timely end to bring the show completely up to date and one which demonstrates that actions have consequences, even maybe decades later.
I'm sure somewhere "Boris! (The Boris Johnson Rock Opera)" is somewhere in the planning. Can't wait!
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Showtime! John Phillpott
Tony Blair dreamed of being a rock star adored by millions. Instead, he was instrumental in starting a war that killed hundreds of thousands.
Not exactly rock and roll, but you’ve got to admit that the light show on the first night of the Baghdad bombardment was quite something.
Ironically, as we watched this deliciously savage satire unfold, there actually was a real live rock star in the audience on this first night at Malvern. None other than ex-Led Zeppelin front man Robert Plant, no less.
No doubt he felt – like the rest of us - a whole lotta love for the demolition job taking place just a few yards away as he witnessed Blair’s way to Heaven. Or Hell, as the case may be.
I daresay that many, if not most, of the audience might have voted for Tony Blair back in the day. But judging from the cackles and laughs, convenient amnesia is plainly a wonderful thing.
So, it was indeed possible to watch with a clear conscience this merciless evisceration of the politician who fell to earth, secure in the knowledge that perhaps because of the 20-year time gap, he can now safely be the man we love to hate.
The show’s creators – Harry Hill and Steve Brown – have between them constructed a masterpiece that takes no prisoners whatsoever. In fact, at times, it’s almost possible to feel sorry for the caring socialist multi-millionaire warmonger. Almost… but not quite.
Mind you, looking back to the days of Cool Britannia and the ghastly vision of the incoherent Gallaghers stumbling through conversations with Blair in Number 10, perhaps we can forgive all those who fell into the gaping chasm that was the fixed smile we came to know so well.
Jack Whittle as the man himself is endlessly entertaining, getting the fixed Teflon Tony smile down to a tee, a smarm fest the actor maintains from epic start to inglorious end.
String-puller-in-chief and arch manipulator Peter Mandelson (Howard Samuels) comes across like a brutal 1950s grammar school master, as he initiates Tony in the dark arts of power with a literal mixture of carrot and stick.
Like fat bacon in some kind of hideous political frying pan, he sizzles and pops, cooking in his own copious grease.
Cherie Blair (Tori Burgess) is portrayed as a Scouse slapper, strictly adhering to the rules of Vatican roulette, regarding the sex act purely as a means to an end, if you’ll pardon the expression. Another baby please, Tony. Well, I did say this was savage stuff, didn’t I?
Meanwhile, John Prescott (Rosie Strobel), valiantly and boorishly flies the red flag for the sole working-class representative in an otherwise Oxbridge-heavy ministerial team that was the hallmark of 1990s New Labour.
Playing Laurel to Tony’s Hardy is Phil Sealey as Gordon Brown, oozing resentment over the fact that he hasn’t got the top job.
While Tony daydreams of meeting his hero Mick Jagger, Gordon lies in bed most nights contemplating prudent fiscal measures to keep the economy on an even keel. Like Tony, his expression is fixed throughout, as if he’s mistaken a tube of superglue for aftershave.
Elsewhere, this is a role call for the main players of the age.
Maintaining the theme of constant irreverence, Princess Diana (Emma Jay Thomas) comes back from the dead to give Tony a massage, Saddam Hussein becomes a cigar-jabbing Groucho Marx, and US President George Bush makes it plain that he has no grasp of world geography whatsoever.
Call me Mr Pedant, but I would say that’s a fairly important consideration if you’re intending to bomb a country out of existence. Make sure you get the right one and all that, Mr Pres.
Throughout, Steve Brown’s songs come thick and fast, each one complementing Harry Hill’s hilarious script, combining to produce a pace that at times is almost overwhelming.
But in the cold light of day as the smoke starts to lift over a blitzed Baghdad, it becomes clear that Saddam had no weapons of mass destruction after all.
And the whole sorry reckless episode has resulted in countless deaths, a destabilised Middle East, terrorism on British doorsteps, and a refugee crisis that - as we know to our cost - is now daily played out in the English Channel.
Yet this wonderful play, on some bizarre level, also goes some way to rehabilitate Tony Blair, the man who infamously helped start that unjust and unnecessary war.
Perhaps one day, the same will happen when a play is written about another similarly vilified prime minister who made the seemingly comparable mistake of holding a glass of wine in the company of a few others during lockdown. Or perhaps that’s clutching at cheese straws.
But in the end, maybe it’s all only rock and roll, and we like it. And no doubt Robert Plant would raise a glass to that.
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Behind the Arras - Jane Lush
This hilarious musical tells the story of how a peace-loving, long-haired hippie,with aspirations to be a pop star, turned into a warmongering multimillionaire in a couple of decades.
Creators of the show, Harry Hill and Steve Brown said “It’s a show for Tony lovers and haters everywhere”.
The show, led by the highly talented Jack Whittle as Tony Blair takes us on a rollercoaster of a journey through his life starting with his birth. Introduced by Peter Mandelson, played by Howard Samuels, we follow Tony’s life story as he receives a guitar for his 18th birthday, aspires to be a rockstar and meet Mick Jagger, but ends up working in a law firm in London.
He marries Cherie Blair, brilliantly portrayed by Tori Burgess and has several children, and after winning a boxing match with Gordon Brown, played by Phil Sealey, he becomes Prime Minister,and creates “New Labour”.
On his travels he meets other characters such as Saddam Hussein, Liam Gallagher, Alastair Campbell and Osama Bin laden, and Princess Diana, all played by the nine highly talented cast members.
We are poignantly reminded of events such as the death of Diana “the people’s princess“ played by Emma Jay Thomas, and the several wars, culminating in the invasion of Iraq and the bombing of Afghanistan.
Neil Kinnock is played by Martin Johnstone, John Prescott by Rosie Strobel, Robin Cook by Sally Cheng, with William Hazell as on-stage cover.
The dynamic songs, slick dance routines, and dazzling sound and lighting effects, use of masks wigs and other props, together with the sharp and bombastic humour throughout makes the show sparkle and keeps the audience on the edge of their seats.
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Malvern Observer - Euan Rose
British satire does not often makes its way onto the main stage these litigious days, but is more the reserve of comedy clubs. It’s a crude, harsh art form, more used to being part of the social event calendar of political party conferences.
The Labour Party, which has always enjoyed an abundance of actors flying the red flag at their conferences, may not have won many elections, but if silverware for political satire revues were awarded, then their trophy cupboard would be heaving.
The one man of course who broke the mould and took the Labour Party from a graveyard of permanent opposition for many quadrenniums, both before and after him was Tony Blair.He also went from hero and everybody’s best pal at the start of his number 10 tenure, to zero Billy no-mates at the end.
Who then is more fitting than Tony ‘the teeth’ Blair to be the subject of a satirical musical – (that was a rhetorical hence the lack of question mark). Also sufficient time has elapsed since the infamous war that toppled both himself and Sadam Hussein to allow it to become an acceptable source of levity.
Harry Hill and Steve Brown have collaborated in writing this full-on satire in which, although Tony gets the Blair-Witch treatment, no-one comes out unscathed.
Phil Sealey’s portrayal of Gordon Brown as a big-bellied, sweating, dribbling mathematically brilliant but social inept Blair bag-carrier is like a living version of a gross Gerald Scarfe caricature.
There is of course a wealth of satire to be had at the expense of the prince of darkness himself Peter Mandelson, and Howard Samuels takes full advantage of it. Likewise Tori Burgess as Cilla Black – sorry Cherie Blair – sexy with more than a hint of Lady Macbeth about her.
Martin Johnston lets Neil Kinnock off lightly, coming across more a golden haired political evangelist than ginger-whinger opportunist; Rosie Strobel brings out the buffoonery of bare-knuckle boxer John Prescott (not to be confused with the Birmingham heavyweight of the same name and time); Sally Cheng captures the oratory skills of reluctant foreign secretary Robin Cook and Emma Jay Thomas oozes sexuality as the People’s Princess, Diana.
Jack Whittle as Tony Blair, with his exaggerated smile, gesture and vocal delivery is simply majestic. He is, quite rightly, the maypole around which everyone else dances
There are cartoon appearances of Sadam Hussein, George Bush, Osama Bin Laden and many others performed by members of this hard-working company.
All very funny, however I must admit I did found the portrayal of blind education minister David Blunkett bumping into everything a bit too cruel, but he would probably he would be the first to laugh at it when it’s described to him, as he is known for having a wicked sense of humour,
There are some terrific songs and arrangements which pay homage to nearly every genre of musical theatre. And all performed by a brilliant band driven by keyboard playing musical director Tara Litvack.
Peter Rowe has done a fine job of directing, moving everything at a frenetic pace whilst leaving little naughty, “Did he, Would she, Did they?” flag posts in your head. Not enough to get the writers sued but substantial pebbles in the pond.
Perhaps there were too many ‘teeth and smile applaud us’ end to songs (someone should have warned them this is Malvern for goodness sake) but that’s my only criticism and no doubt it’ll come back at them in waves on the Edinburgh festival leg of the tour.
Libby Watson’s simple but effective nebulous set and red tie costumes work well as the third part of the technical team joining Mark Dymock’s lighting and Richard Brooker’s sound to complete a nigh perfect triangle.
Put aside any political leanings and go see this show as a very entertaining piece of theatre. In the opinion of this reviewer it is a far cleverer and better written than the other satire currently doing the rounds – the Spitting Image stage revival.
All the characters share the same attribute as Tony Blair – they are egocentrics and as such like coconuts on the shy at the fairground – they make fair game to toss balls at.
No doubt there will be a satire on ‘The Covid Chronicles’ to come in perhaps a decade from now when we can laugh at that too but for now ‘Tony Blair the musical stirs the memories and tickles the funny bone.
Let’s face it not only was TB the most charismatic post war PM. he’s now also the self- made richest – he deserves a musical and the fair- game satire.
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Fairy Powered Productions - Courie Amado Juneau
Tony! (The Tony Blair Rock Opera), with music by Steve Brown and lyrics by Harry Hill… Who could resist such a totally bonkers concept? Not I.
The opening number immediately showcased the show’s multi-faceted strengths – ensemble song & dance routines, biting comedy and a “knowing nod” to a greater truth behind the politics all set to a toe-tapping soundtrack. Truly, something for everybody.
Howard Samuels launched tonight’s proceedings with a deliciously camp Peter “Mandy” Mandelson, giving the opening number some appropriate spin on the Blair legend. A truly fantastic concoction that fizzed across the stage like a comedic perpetual motion machine intent upon revealing this impressively talented actor in all his technicolor glory. My favourite role of the entire show, with more than a touch of classic Carry On about it. As U2 might say, “even better than the real thing”.
Fans of Harry Hill’s madcap tomfoolery will be thrilled by our title character’s entrance – of which I’ll say no more so as not to spoil the surprise… As a charming theatre going companion astutely commented on Jack Whittle’s performance as Tony; he “perfected each movement and mannerism, to the point of wearing the character like a tailored suit – that louche dead-eyed grin was magnificent”. Thank you Anne, perfectly put!
The story of Blair wouldn’t be complete without his shadow, Gordon Brown, played with devastating precision by Phil Sealey – especially in nailing that vocal tick. His “Macroeconomics” song (written out word for word from an actual speech) was something you don’t hear wrought in song every day and was a sheer delight.
The entire cast were fantastic and only my paltry word count precludes a paragraph for each performer (which they deserve). I will briefly mention Emma Jay Thomas as Princess Diana neatly weaving in (and out and in again) making hers an enjoyable and pivotal role. And the villainous dictators of the tale are treated in perhaps the only way possible for a piece of family entertainment – like the Nazis in The Producers – which I thoroughly enjoyed. Lastly for my whirlwind mentions, Cherie (Tori Burgess) and Tony’s love scene was worth the price of admission alone! I haven’t laughed that hard for quite a while.
I’m not sure if a serious message behind all the humour was intentional but the song “Bombs Away” was arguably one of the most insightful commentaries on American foreign policy ever. There’s also (given our current geopolitical situation) a particularly apt ending to “The Whole Wide World” routine. Guaranteed to receive a supportive cheer, it will have you humming yet another glorious tune long after you’ve left the auditorium.
As my aching face (from the two hour Blair like grin I had been wearing) and split sides attested, Tony! is a riotously funny piece of musical theatre which I cannot recommend highly enough. Utterly wonderful in it’s absurdity and all the moreso as it was based on true events (well, mostly true anyway), this show is a real tonic! Mr Hill began as a Doctor and in this humble reviewers opinion this show should be prescribed on the NHS as a pick me up. Bravo to all concerned, grab a ticket while you can!
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British Theatre Guide - Rachael Duggan
Former Prime Minister Tony Blair and myself share something in common: 1997 was a big year both of us. Admittedly, rather bigger for him, as he landed the top job in government, and I just shuffled off to uni, but still, it’s a year that is very much etched in my memory for more or less positive reasons.
It was the era of Britpop, ‘cool Britannia’ and cargo trousers (me, not Tony); back when Freddos were 10p and life felt less complicated. Add that to the proposition of Harry Hill’s surreal comedy, and I was bound to be along for the ride with Tony! (The Tony Blair Rock Opera).
This is an eclectic, multi-musical genre whistle-stop tour through the arc of the politician’s meteoric rise to power and subsequent ‘fall’ (if that indeed what it was). And buckle in, because it's very apparent from the get-go that nobody—and nothing—is safe from this merciless send up, from religion or race to disability and least of all political leanings. I mean, Robin Cook was a ginger, for goodness’ sake.
The audience seemed entirely on board once they’d adjusted their taste levels for satire, or so I thought, until Princess Diana, 'The People’s Princess' (Emma Jay Thomas) sashayed onto stage. Is it still too soon? A few heads shook in disbelief, and this may have resulted in an unfortunate departure or two at the interval, but I’m unsure which show they actually thought they’d signed up to. I mean where else would you see the word ‘celestial’ rhymed with ‘bestial’?
Jack Whittle nails the vacant, latterly haunted, Blair stare to the point where his face almost morphs into the real deal at certain points and Howard Samuels as Peter ‘Mandy’ Mandelson is deliciously wicked—pricking the tension of the aforementioned bombshell with some beautifully timed and, yes, completely over-egged balloon modelling. I freely admit that I laughed throughout and just wish I had subtitles so I could catch every line in all its glory. Well, my hearing's not what it was in the nineties after all.
Ultimately, Tony! is entertainment over serious political commentary, but I think we can all agree in today’s climate that the lyrics during the final number which surmised “the whole world is run by a**holes” are probably terrifyingly correct.
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Birmingham Mail - Alison Brinkworth
Comedian Harry Hill knows enough time has passed on figures from Tony Blair to Princess Diana to bring out a no-holds-barred satire on the life of 'Britain's youngest premier who became a billionaire'. I was expecting this parody of the ex-Labour leader's life to be off the wall, but nowhere near prepared for what I saw.
You may have been put off by whatever political allegiance you are, or if you do or don't like Mr Blair, but I'm here to tell you that really doesn't matter. Think Spitting Image with real people mixed with a James Graham searing political play.
This show will leave you open-mouthed at risque jokes and laughing until you cry. No one is off limits in this outlandish, hilarious and daring satire.
It may be called a 'rock opera', but it's none of that. More a comedy musical with some catchy tunes including a stunning finale of 'The Whole Wide World' that probably sums up exactly how everyone is feeling right now. I don't want to spoil the surprise, but it's worth going to see for that alone.
While You've Been Framed presenter Hill wrote the words, he wisely got composer Steve Brown to create the soundtrack. The music score fits well but it isn't going to set the world on fire like Les Mis or West Side Story - but that's not what you're here for.
It opens with Blair in his grey long-haired stage, on his death bed, pleading to confess all to a priest. Quickly going back in time to his birth, it's instantly silly and likeable. Our narrator is an excellent Howard Samuels playing a blood-sucking Peter Mandelson like an old rocker and Jack Whittle is uncannily like Blair in his mannerisms with that same grin.
It's a torrid, raucous two hours of political panto with no one safe from Hill's cut-throat comedy. They are all caricatures from Phil Sealey's Gordon Brown, sucking in his words and turning into the Hulk when he's angry, to Saddam Hussein resembling Groucho Marx with cigar in hand and Rosie Strobel's hilarious turn as blunt Northerner John Prescott.
Liam Gallagher, Osama Bin Laden and George Bush are all in there but Princess Di gets one of the most prominent roles. She's also at the rough end of some of the most jaw-dropping jokes too.
Cherie Blair is the funniest of them all. A Scouse femme fatale introduced through a romantic tango dance number with Blair as she hurtles him towards Number 10 and becoming the 'pop prime minister'.
The first act focuses on a some-what hapless Blair, portraying a Mick Jagger obsessed student and his accidental rise to power under Mandelson's Machiavellian duress. We see this Tony taking advantage of a country in mourning over Princess Diana's death to an all-time high questioning 'what could possibly go wrong?' ahead of the interval.
The second act is rightfully all about Iraq - the lies, the dossier, the 'special relationship' and unexpectedly, only a brief appearance of Alistair Campbell. Bin Laden, played by female Strobel, gets his own 'Kill The Infidel' musical number with his disgruntled harem of wives, unhappy at their new pad in a cave.
It's still very funny but there's also some hard-hitting points to take away with you in this multi-layered farce. There's some tough questions asked of us all in the final moments.
You may have guessed but this show isn't for the easily offended. It's light relief and searing satire that's wonderfully surprising with unexpected moments. Malvern may be about an hour away for those in northern Birmingham, but make a night of it as it's truly well worth the journey.
Tony! The Tony Blair Rock Opera is Harry Hill at his best, satire that is as sharp as a knife and the funniest history lesson you're ever likely to get. I'm just hoping he does a Boris Johnson Rock Opera next.
