Edinburgh Fringe Festival: How to Win Against History

Elena Gower

Henry Cyril Paget is a complex figure from history that few of us, if any, have heard of.

The 5th Marquess of Anglesey lived an extravagant lifestyle full of theatrical pursuits and glamorous costumes made of expensive silks and diamonds. Unconventional in the extreme, he converted his family’s church into a theatre to put on plays with his actor friends to small audiences of townspeople, to little avail.

Unfortunately, any and all pieces of evidence surrounding his lifestyle were burned by his family, who disapproved of his lavish behaviour and wanted to erase him from history. The title of this musical could, therefore, be interpreted as a protest of sorts. Winning against not only history but the traditional and opposing views to anyone uniquely themselves. It sends the message of standing tall against adversity and remaining true to yourself, despite any shortcomings, for it is only then, that we win.

Having seen Seiriol Davies’ past musical comedies Corn Gwlad and Milky Peaks, I knew I’d be in for a treat when I saw his latest offering at the Bristol Old Vic recently, before it transferred for a month long run in Edinburgh. How to Win Against History is a sparkly interpretation of the Edwardian eccentric’s life, set in Davies’ own camp and glittery wonderland.

Being seen

The main theme of the musical is the importance of being seen for who one truly is, and how it isn’t just a want, but a basic human necessity. At the start of the play, we see a young Henry Paget at Eton College, struggling to adapt to the gendered expectations of him.

In the song “Boots and Feathers,” through many clever innuendos, we see him desperately trying to understand what is expected of him. “Oh, we British are so divine, just because we’re so masculine.”

The clever title of the song refers to both the clothes of his fellow students’ uniforms and their conformation to the manly expectations of them, especially within the authority of the British Empire, as well as Henry’s dreams of wearing whatever he likes without upholding these stereotypes. “If I wear hot pants and a geisha mask, the Empire wears hot pants and a geisha mask.”

Henry Paget is an eccentric oddball, a bit of a narcissist, and in essence, someone who was born to stand out. As the musical progresses, we see him continuously struggling to find his place in the world. Constantly moving around, but never properly fitting in, his driving force takes him to a place where he can be himself around people who see him for who he is, which is a struggle the audience can easily relate to.

Musical Inspirations

Henry Paget could easily be compared to an Edwardian Freddie Mercury or David Bowie, and as such the music is inspired by these glamorous musicians. The music travels through different genres effortlessly, from old-school vaudeville-esque showtunes to bright pop ballads and warm love songs. Containing such neologisms as
“oppressage,” each song leaves you in stitches and begging for more.

Harmonies blend together beautifully, especially in the duet “This is What it Looks Like,” a hilarious call and response between the two love interests, Henry and his soon-to-be wife Lillian. It demonstrates the pair’s struggle to be a “normal” couple. Between Henry’s ignorance of the expectations of marriage, and Lillian’s devotion to who he is. They repeatedly use the title as well as “this is what it sounds like” in the chorus, to push the idea that they are finally conforming to societal traditions and gender roles, whereas in the verses we see their quirkiness. “If I dress like a horse, and do the sound of a horse and say ‘hey I’m a horse’, I’d be a horse, right?”

Teamwork

Seiriol Davies is a human mirror ball, and was born to play the Marquess, or anyone as flamboyant for that matter. Shining bright disco ball silver light through every scene, he is a pleasure to watch from start to finish. Although, he isn’t the only one.

Davies’ co-actors play together wonderfully- Mathew Blake as Alexander Keith and Dylan Townley as the Maestro. The chemistry they all have with each other is totally dynamic. Blake has a talent for flowing between many different characters smoothly and subtly, with distinct personalities and mannerisms. I particularly enjoyed his portrayal of the Marquess’ wife, Lillian. With his arms shyly by his side and a giant pink ribbon on his head, he carried himself like a doll, playing into the puppy-like wonder and energy of his counterpart, the childish Marquess.

Dylan Townley as the Maestro deserves equal praise for not only conducting the band of talented musicians (Mark Harrison, Rhiannon Harrison, Flick Isaac-Chilton and Harry Miller) and accompanying the actors, but for his comedic presence. Dressed by the same tailor as the “Mad Hatter”, there was never a dull moment in his performance.

Motion

Although full of colour and extravagant choreography, the show still allows time for the audience to catch their breath. Even in such high energy songs as “Please Everybody (The Touring Song),” the cast is mostly sat down on top of the piano bouncing as if on a moving carriage. Sometimes, all it takes is for the acting and vocals to take you on the journey. Lisa Spirling directs with delightful gusto, Mateus Daniel flourishes a magic wand through the exciting dance sequences, all taking place within the dreamy set design of Hayley Grindle.

The stage is set like a piece of Greek mythology, full of beautiful gold and turquoise embellishments, creating an ethos of warmth that carries through into the audience.

Fringe

Full of catchy tunes and clever gags, How to Win Against History is 90 minutes of fabulousness. My cheeks were so sore by the end because I genuinely could not stop smiling. And if you thought you could count as many diamantes in one show, you’d be wrong…

Tender, hilarious, and shining as brightly as the Milky Way, this is a show you’ll want to watch over and over again.

How to Win Against History is at Udderbelly, Underbelly, St George’s Square, Edinburgh until 24 August.