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Phill Jupitus

Phill Jupitus

Phill Jupitus began his performing career in 1984, when he quit working in a Job Centre to become a left-wing punk poet, going by the name Porky The Poet.

He did the rounds of pubs and universities, supporting bands including The Style Council, The Housemartins and Billy Bragg. Two years later, he began working for indie label Go! Discs - whose artists included Billy Bragg - where he eventually became press officer for The Housemartins. He has also directed videos for Billy Bragg and the late Kirsty McColl.

And as his poetry turned into comedy, Jupitus remained linked to the music scene, with his big TV break coming in 1996, when he joined BBC2's pop quiz Never Mind The Buzzcocks as a regular team captain.

He also hosted his own show on BBC GLR, where he presented his own show from 1995 to 2000, and became the breakfast DJ on 6 Music in 2002.

As a stand-up, he has performed two UK tours: the Star-Wars-themed Jedi, Steady, Go in 1996, and Quadrophobia in 1999.

Phill also supported Madness on their 2000 national tour, and starred in a sitcom called Dark Ages for Granada Television. In January 2000, he joined BBC1's comedy panel game It's Only TV But I Like It as a team captain, alongside Jonathan Ross and Julian Clary.

He has also provided the voice of Dandelion in an animated series based on Watership Down for ITV and in Aardman Animation's Rex The Runt.

He has also played a patient in Holby City and an embittered sports journalist in the film Mike Bassett: England Manager.

Reviews

The Producers

The Producers

You can't escape Mel Brooks at the moment: his classic 2,000-Year-Old man sketches are being revived in London, he's about to make his West End stage debut at the age of 88, and now The Producers has kicked off its UK tour proper, with a first night in Manchester.

It's a local gig for Jason Manford, taking the role of Leo Bloom, the mild-mannered accountant seduced by the glamour of Broadway and the chutzpah of Max Bialystock to ditch his buttoned-down life and back a crooked scheme to stage the biggest stage flop ever.

There's a knowing laugh when a gobsmacked Bialystock declares after all their escapades: 'Leo! I never realised… you're a good singer'. But that wouldn't be such a surprise for anyone who's followed Manford's career beyond comedy, having displayed his perhaps surprising operatic skills on ITV talent show Born To Shine and as Italian barber Pirelli in Sweeney Todd.

This, though, is a far meatier role, and while there's a little initial uncertainty about his believability as a timid, wide-eyed naif who bumbles into Bialystock's office, that's quickly dismissed as he settles into the part.

In his first headlining musical role, Manford more than holds his own in a production of such glorious rambunctious energy that any trivial quibbles about, say, the very 1968 nature of the only female role of Swedish sex bomb Ulla, are barged out by the force of knockabout gags and ear-catching showtunes.

It is, however, Cory English who drives this runaway vehicle as it careers destructively through delicate sensibilities. Little known outside of the theatrical world, at least compared to some of his co-stars, he pulls of the difficult balance of desperation, pizzazz and manipulatively smooth-talking conman with a rare verve. He ad-libs cheekily when het can't help Manford into his coat; magnificently delivers the high-speed recap that offers him a silly set piece, and handles the physical humour with aplomb.

Yet for all that he is a outlandishly over-the-top character, Bialystock is relatively grounded compared to the cartoon grotesques of the supporting cast.

As is well-known, the surefire dud the pair decided to stage is Springtime For Hitler!, a love letter to the Fuhrer written by a deranged neo-Nazi oompah-dancing pigeon-fancier. Phill Jupitus seems to be having a ball with the psychotic outbursts and surreal outbursts. Ross Noble takes the role later in tour, and he's likely to be avery different fascist then, but Jupitus is the right mix of unhinged yet comic nutjob.

David Bedella, no stranger to controversial causes since making his name starring in Jerry Springer The Opera, brings his booming theatrical voice to the imperious director, Roger De Bris. And as his sidekick, Louis Spence gets to do what he does best – camp it up to outrageous levels way beyond parody in very spangly suits. I mean dance. He gets to dance. And in a very showy way.

The staging is necessarily simpler than the West End production that starred Lee Evans a decade ago, but such is the verve that this cast could do it in an empty church hall and it still be a blast. Gone is the Busby Berkeley-style dancing number from the movie, the dancers choreographed in formation as a swastika. But in it's place is an inventive use of the Third Reich salute. This scene, a raging bonfire of good taste, is as delicious in its transgression as it ever was.

With such an effervescent show, the simple advice has to be: Don't be stupid, be a smarty, come and join this Nazi Party.

Wednesday 18th Mar, '15
Steve Bennett

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