Skip to main content

Lord God

"I know they say 'God is an Englishman' - but I never thought He'd be quite this English..."

Last summer, in the gap between Lockdowns, Brian Mitchell and I finally sat down and wrote Lord God, a musical comedy we'd been talking about doing ever since we finished The Ministry of Biscuits, twenty years ago. And on June 10th this year it will have its premiere at Brighton Open Air Theatre, with a tour to follow as soon as things settle down a bit and venues become available again.


Poster by Sarah McIntyre

When the Lord God is persuaded by His retainer and chief-cook-and-bottle-washer Gabriel to take an incognito holiday to a Devonshire seaside hotel (largely to get Him out from under His angels’ feet), He looks forward to a fortnight of uninterrupted tennis, billiards, tea on the terrace and the latest Agatha Christie. But the presence of campaigning atheist Professor ‘Minty’ Tweddle and her fiance, notoriously hard-to-please theatre critic Rex Addison, upsets His plans and leads to all manner of supernatural scrapes, japes and narrow escapes – as well as the invention of a hot new global dance craze. 

It all sounds terribly sacreligious, and I suppose it is, but we weren't setting out to offend - I think it works on about the same level as one of those cartoons of people arriving at the Pearly Gates, or standing around on a cloud with harps and halos, and is unlikely to shake anybody's faith. If anything, the atheists come off worse. But no one comes off particularly badly, because it's a generous and light-hearted sort of show. The overall tone we were aiming for is a sort of mildly supernatural Jeeves & Wooster.

Brian's score is, as always, magnificent: you can get a little flavour of it in this trailer, where we talk about where the idea came from (spoiler; from the BRAIN of BRIAN). And the cast will include Joanna Neary, Murray Simon, and Emma Cunliffe.

LORD GOD will be at the Lionhouse in Brighton from 19th-21st May 2023. It’s an outdoor venue, the weather forecast is good, and it should be a grand evening. Tickets and details here.



Comments

Popular posts from this blog

Merlin (1998)

I remember Merlin being shown on TV as a two-part mini-series over a bank holiday weekend. The version I found on YouTube is a single three hour movie, but I think it might work better in two chunks, as originally broadcast. It still works pretty well, though. Director Steve Barron is completely infatuated with video editing tricks and slightly primitive CGI effects that I’m sure were state-of-the-art when it was made, but he uses them quite inventively, and there are some very enjoyable performances. Since First Knight was such a washout, I guess this is the definitive ‘90s Arthurian film. Like Excalibur , the definitive ‘80s Arthurian film, it tries to tell the entirety of the Arthur story, but since it’s main focus is Merlin it covers a lot more too, and Arthur himself ends up being a bit of a side-character, with the rise and fall of Camelot packed into the second half. At first glance, Merlin seems to be aligning itself with what I’m coming to think of as the Low Arthurian tradi...

Lord of the Rings 7: Minas Tirith

'This is not a work which many adults will read through more than once,' claimed the historical novelist Alfred Duggan, reviewing The Lord of the Rings when it was published. But I've read it through LOADS of times and now I'm blogging my latest re-read, so what did he know? And so we come to Minas Tirith, Tower of Guard, citadel of Gondor, seven tiers of fancy white fortifications built against a buttress of Mount Mindolluin, with the Tower of Ecthelion rising a thousand feet above the plain. It seems to me the template on which a whole genre of knock-off fantasy cities has been based - I guess Robert E Howard and people wrote about such places before Tolkien, and perhaps there were cities of equal grandeur on Barsoom, but when concept art threads on Instagram throw up unlikely gold and marble castles built on mountaintops and over waterfalls they always look distinctly Minas Tirithy to me. I'm wondering now if London in Mortal Engines was subconsciously echoin...

King Arthur: Legend of the Sword

One of the reasons the Arthurian Legends appeal so much to writers and film makers is that there is no single original version. If there ever was, it was a tale told by some Romano-British storyteller, sitting by a fire in a damp hall, perhaps expounding on the great deeds of a local ruler or late Roman general, and spicing up the action with some motifs borrowed from old Celtic myths. In the centuries that followed, the story grew, and changed. Lots of legends about other heroes got tacked on to it. French and German poets got hold of it and added Camelot, the Grail, and Courtly Love: Malory borrowed from them all in his Morte D’Arthur . Later, everyone from Tennyson to TH White to Rick Wakeman to little me retold the stories, altering them to fit our own vision and reflect our own times. So you can do whatever you like with King Arthur: everyone else has. At least, that’s the theory. Now here's Guy Ritchie’s 2017 box office catastrophe King Arthur, Legend of the Sword to destru...