Best bit: Too many to name just one! If I had to, it would be Nell's stage debut.

Any boring bits? No boring bits in sight.

Who would like it? Anyone who is comfortable with laughing until they wheeze.

Who wouldn't like it? Those who dislike innuendo.

Morning after effect: Cannot get the ribald songs out of my head.

Verdict: 5 out of 5 stars.

By some miracle of theatre, I found myself seated in the second row of the Apollo, thrust right into the bawdy antics and abounding merriment of Jessica Swale's absolutely delightful production of Nell Gwynn. Swallowed whole by its spirited performances and rib-tickling humour, I could hardly catch my breath in between the witty repartee, knees-up jigs and more sombre, yet poignant moments. This is, after all, a play about the remarkable rags-to-royalty journey of the titular 17th century actress and there are bound to be a few tears shed along the way.

Times are a-changing in fair Restoration England, where we lay our scene. King Charles II has decreed that females may now tread the boards and the hottest ticket in town is for a production featuring its very own actress. This is how orange seller and former prostitute Nell gets her foot on the first rung of the social ladder, at the top of which is the position of mistress to the King himself. Proving her acting talents on stage, she quickly catches the eye of the monarch and one of our nation's greatest love affairs ensues.

Gemma Arterton is every bit the leading lady and a perfect embodiment of the story's determined heroine. I must admit I was dazzled by her sheer star power at first, yet throughout the evening she proved her mettle with a resplendent performance - her Nell is streetwise and strong yet tender-hearted, an inspired casting choice. The production's ensemble players more than held their own and quite often stole scenes; Jay Taylor's Charles Hart is dashing as Nell's early mentor and lover, Greg Haiste's jealous and OTT Edward Kynaston (put out after having to concede women's roles to Nell) is utterly uproarious and Michele Dotrice's doddering and endearing theatre worker Nancy is side-splittingly funny. There is also a dog, ladies and gentlemen! Although it receives about a minute of stage time, it's a definite talking point amongst my fellow audience members at interval.

While I have nothing but praise for the production, I did feel that certain plot points (namely the short-lived romance between Gwynn and Charles Hart) were too easily glossed over. Perhaps I found the chemistry between them more believable than that of Gwynn and Charles II. Perhaps I was not ready to let Charles Hart go... An infinitesimal infraction amidst so many things done right in this brilliant, farcical romp.

From my holy vantage point, I was privy to the bristling, up-close-and-personal energy of the performers in a way I'd never experienced before. Spit flew across the stage like fireworks, punctuating the high-octane theatrics with a splendid flourish. That's not to say that you have to sit in the front row to appreciate it all, I heartily believe a production of this calibre would be thoroughly enjoyed from any seat.

Reviewed by Teia Fregona

Tuesday 16th February 2016
Apollo Theatre, London
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