Review: The Scouse Nativity at Liverpool's Royal Court ****

And lo, it came to pass that the Royal Court was delivered of a Christmas show, and choirs of heavenly angels sang hallelujah, tidings of great joy - The Scouse Nativity has returned.

Nine years after the Court first dropped into the little town of Bethlehem, the theatre’s very singular take on ‘the Greatest Story Ever Told’ returns to the land of Judea where shepherds wash their socks by night and the angel of the Lord is desperate to get her big celestial wings.

It may only be mid-November (at time of writing) but there was plenty of festive cheer on press night, from mulled wine and a choir in the foyer to Christmas dinners, seasonal sparkle and Christmas bangers on the sound system in the auditorium itself.

But let’s not forget, behind the baubles and bangers, the true meaning of Christmas. Even if it comes here with a healthy dose of Royal Court irreverence. And some badly misbehaving teeth.

It’s 0BC (or 0BCE for all you new-fangled types) Nazareth and cheery cheese seller Mary (Jess Smith) and bashful carpenter Joseph (Adam McCoy) have the hots for one another, which is great news because God has a plan for the young would-be couple that will change more than their own lives.

But Joseph isn’t the only suitor in town. The evil Abanazer, sorry Herod (Paul Duckworth, returning to the role), looks out from his luxury emporium Herods and determines he’s going to make Mary his, by hook or by crook. Mostly crook as it happens.

Above: Paul Duckworth as Herod. Top: LIndzi Germain as Angela Gabriel. Photos by AB Photography.

It’s down to Angela Gabriel (Lindzi Germain, on wires) and a trio of reluctant shepherds to make sure the chosen couple actually becomes a holy trinity by reaching Bethlehem safely where it's foretold Jesus will be born.

You know the story. And if not, the Apostles have it covered – much to the chagrin of Lenny Wood’s shepherd Alan, who has been tasked with chronicling the entire thing. If only he could write.

This being the Royal Court of course the central tale comes with ribald and risqué dialogue, silly wordplay, double entendres, 70s disco dancing, cavorting camels, meta moments, a cheeky nod to the cheesy Christmas favourite Love Actually, Scouse references – although not as many as you might expect, and big blistering musical numbers from both individuals and ensemble, bolstered by a flanking four-piece crack musical combo and Tim Roberts and Lydia Morales-Scully as busy on-stage swing.

Germain, Duckworth and Keddy Sutton (playing shepherd Lil Bo-Peep) are the returnees from 2017, with the bulk of the cast newcomers to the play, along with Nicole Behan, moving on from Letter to Brezhnev to take on festive director duties.

Above: Adam McCoy as Joseph and Jess Smith as Mary, with Brian the donkey. Photo by AB Photography.

Jess Smith, who visually has a touch of Nerys Hughes in The District Nurse about her, is a sweet-faced, sweet, voiced Mary – she shows off some impressive top notes to boot, while Adam McCoy is as watchable as always as her suitor (Joseph of LIPA) who is hapless with a hammer and rubbish with a rasp. Together they make a charming and very likeable couple.

Wood, Sutton and Helen Carter (as Dolly the sheep-herd) form a grumbling, tummy-rumbling Wilson, Keppel and Betty, even if this production doesn’t feature a sand dance. Or, this time around, any bare bottom cheeks.

Meanwhile Duckworth as the panto baddie is worked hard in a variety of disguises, from 'John the Bishop' in the wilderness to a strutting Mancunian innkeeper to Gandalf (the fourth ‘wise man’).

Another returning star from 2017 is Mark Walters’ brilliant Bible-inspired set, albeit in a fresh incarnation of the original.

Its concertinaed pages are turned backwards and forwards by the cast, and unfold like a pop-up children’s book to create a Judean landscape, Nazareth street scene, carpenter’s workshop and Bethlehem stable. It’s a delight to watch unfold, particularly if it comes as a surprise.

Above: The Scouse Nativity. Phot by AB Photography.

There is one much missed member of the 2017 team, however. Howard Gray, for so many years the engine room of Royal Court shows as musical director (and occasional actor) died last month at a cruelly young age. There’s a lovely tribute to him in the digital programme.

All in all, it’s a cheerily enjoyable romp, although - and I know comparisons are odious – this ‘Second Coming’ doesn’t always feel like it has quite the same vim as the original incarnation.

I’m also still not entirely convinced the second half television segment (a general all-purpose streaming platform-style reality show replacing Jeremy Kyle, long persona non-grata) adds much to proceedings.

But The Scouse Nativity mark (Luke and John) two is big, it’s bright, it’s often biblically funny, and the cast are having so much fun that even the most curmudgeonly grinch will discover that resistance is futile.