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Arnold Bennett is one of Stoke-on-Trent’s greatest literary sons, and what better way to celebrate the Potteries’ 100-year city status than with a riotous adaptation of the author’s The Grand Babylon Hotel. The 1902 mystery novel has been reimagined for stage by the incredibly talented Deborah McAndrew and Conrad Nelson – and the New Vic company delivers its world premiere with relish.
Part murder mystery, part farce, part affectionate homage to the Edwardian thriller, the plot begins with steak and beer – or rather, the lack of them. When American tycoon Theodore Racksole (played with charisma and wit by Adrian Pang) discovers that his daughter Nella (Alice Pryor) cannot get her birthday dinner in the hotel restaurant, he buys the chef, the kitchen and, well, the entire hotel outright.
But what starts as an extravagant gesture quickly descends into a series of peculiar goings-on, from vanishing staff and dead Royal attendants to dodgy waiters and singing chefs.
The real joy of this production lies in its inventiveness. New Vic favourites Michael Hugo, Shelley Atkinson and Thomas Cotran supply a dizzying carousel of characters, accents, and costume changes. Michael, who shines in any role he takes on, is brilliant as the scheming Jules, effortlessly tumbling into other roles like Detective Marshall and Prince Eugen of Posen. His comic timing is impeccable, whether he’s being bashed on the head with an ore, enlisting the assistance of audience members or delivering an off-the-cuff quip. Meanwhile, Shelley delights as everything from a hotel receptionist to the absurdly doting Nanny Heidi.
A particular highlight is watching Thomas flit between the slippery singing chef Rocco, the ill-fated Reginald Dimmock and the charming Prince Aribert of Posen. The ensemble’s ability to switch personas at lightning speed (sometimes in full view) becomes part of the humour itself, alongside a witty script and side-splitting, tightly choreographed physical comedy.
Making their New Vic debuts, Adrian Pang and Alice Pryor each hold their ground with their Racksole roles. Adrian charms as the cigar-wielding Theodore, especially in scenes where he explores a hidden tunnel and his heroic chase of villain Tom Jackson. But Alice as Nella really stood out to me, with her character channeling the upper east siders of Gossip Girl – wonderfully exaggerated and a joy to watch the spirited sleuth prove she is more than just a spoiled heiress.
The staging, as ever at the New Vic, is fantastic. Lis Evans’ set design and Daniella Beattie’s lighting transform the theatre-in-the-round into cellars, yachts, and even the open sea. Some of my favourite moments include Michael Hugo rolling around the rocking deck of a boat as Nella and Prince Aribert step over him, as well as a scene where Nella, Theodore and Aribert break into a house through a levitating window in what can only be described as moment of theatrical genius.
What makes this production such a tonic is its refusal to take itself too seriously. Yes, there is mystery, melodrama, bodies and suspense – but the tone is playful with endlessly loveable characters. Packed with satire and slapstick, The Grand Babylon Hotel is a perfect way to pay tribute to Bennett’s local legacy and Stoke-on-Trent’s centenary while also celebrating the joy of modern theatre. Running until October 4, be sure to book a room at the Grand Babylon Hotel while you can.
