UK Theatre Network

Cleveland Street -The Musical, a colourful homage to Victorian melodrama and music hall, tells the tale of prostitution, hypocrisy and cover-up, in a time when moral values were claimed to be at their highest.

Set in 1889 four years after homosexuality was made illegal, the musical is based on the true story of the recruitment of Post Office Telegraph boys for a male brothel at 19 Cleveland Street. It became a source of popular scandal when it was alleged that one of it’s clients was Queen Victoria’s grandson Prince Eddy, the son of the Prince of Wales, who was second in line to the throne. Further investigations suggested that some of the most influential members of London society were regular visitors to the male whore house, including the Earl of Euston. Using influence and cash to cover up his indiscretion, he successfully sued the North London Press for libel after the paper published a story naming him as a punter. The owners of the brothel escaped punishment by fleeing abroad, and unjustly it was one of the telegraph boys who bore the brunt of the new laws against gay sex. Moral condemnation of homosexuality was further cemented in 1895, with Oscar Wilde’s imprisonment in Reading gaol.

The script by Glenn Chandler (of Taggart fame), often goes for the lowest common denominator, and unimaginatively relies too much on double entendres and thigh slapping humour that wears quickly. It is only in the second half when Chandler explores legal corruption, social double-standards and tabloid scandal, that the writing convincingly comes into it’s own. The music by Matt Devereaux, does its best with Chandler’s overly clichéd  lyrics, and has some pleasant but generally unremarkable numbers. However Climbing The Ladder, Passing The Buck, with its clever take on the legal system, (carried by a fine performance by Joe Shefer), was a surprise diversion to this, and One House, Two People, Three Canaries, along with the moving reprise of I Was There, offered the few opportunities to musically allow the vulnerability of the characters to shine through.

The cast work well together as an ensemble. Josh Boyd Rochford and Fanni Compton, are wonderful as the ruthless madams of the piece, and Paul Brangan is impressive as the ageing rent boy John Saul. Tim McArthur’s precise direction and choreography holds the piece together, and Fiona Russell’s set which includes a delightful representation of a Victorian stage, is flatteringlylit by Chris Withers.

Despite some flaws, Cleveland Street is undeniably very entertaining, and this was reflected by the loud applause of an appreciative audience who seemed engaged from beginning to the end.

OLIVER VALENTINE                                                                       Runs until 29^th May.