Review: Only Fools and Horses: The Musical at Wales Millennium Centre

Rhys John Edwards

A musical version of Only Fools and Horses is a terrible idea – and yet, I was desperate to see it. In fact, I was so blinded by fan-boy eagerness that it only occurred to me as the curtain rose that I was about to watch Del Boy and Rodney break out into spontaneous song and dance, and my brain momentarily short-circuited at the prospect.

All this was compounded by the sudden realisation that someone other than David Jason was going to be playing Del Boy. Surely that’s a lose-lose scenario if ever there was one? The audience isn’t going to settle for a mere impersonation, but nor do they want this adored character to be changed in any way – the role is about as close to impossible casting as you can get.

I guess I must have been so excited in the run up to the show that I had overlooked all of these obvious concerns and now could do nothing but await the monumental disappointment that lay ahead.

BUT… against all odds, this musical adaptation not only works, it thrives.

Greatest hits from the TV series

The story itself is essentially a greatest hits from the TV series, but one that is cleverly stitched into a fresh narrative. Del is looking for love but starts to overcompensate his business acumen when he meets Raquel. Rodney nervously prepares to marry Cassandra, concerned he’s not up to her standards. All the while, Grandad contemplates his legacy in an ever-changing Peckham.

Eagle-eyed fans will know that none of these threads coincided in the tv show – with Lennard Pearce, who played Grandad, having died before either Cassandra or Raquel were introduced. And it’s here where the show parts ways with the original: it reimagines the best-loved moments and fuses them with an original storyline.

Instantly recognisable

Sam Lupton is a revelation as Del Boy. He nails the cadence, swagger and comic timing with remarkable accuracy, yet avoids slipping into an impression. His Del feels lived-in, layered and human. He is instantly recognisable – and at times, so like David Jason – but not to an ‘uncanny valley’ extent. Instead, his performance acts more as a loving tribute than an exact copy.

Tom Major plays around a little more with his take on Rodney. He retains the familiar moans, groans and gangly awkwardness but adds a touch of slapstick energy that for me, seemed to borrow a tad from Michael Crawford in Some Mothers Do ‘Ave ‘Em.

Paul Whitehouse, reprising his West End role as Grandad, is pitch-perfect, and leans into the character’s eccentricity, lending him unexpected warmth. His cameo as Uncle Albert too adds a welcome layer of nostalgia – it just wouldn’t have been the same without him!

Craig Berry’s Boycie is another standout – mastering that unmistakable laugh – and Georgina Hagen’s Raquel brings real tenderness to her scenes. The whole ensemble strikes just the right balance between nodding to the past without parodying it.

‘Knees-up belters’ with a touch of broadway magic

The production design is efficient and charming, and convincingly whisks us from Nelson Mandela House to The Nags Head, the market and beyond. Caroline Jay Ranger’s direction ensures these transitions are seamless and that the spontaneous musical numbers combust organically.

These are delivered with a focus on character, sung with committed accents which give the impression that these characters are simply slipping into a cockney singsong at the end of a hazy night out. The music ranges from original compositions to Chas and Dave favourites – mostly ‘knees-up belters’, but there is a touch of broadway magic during ‘Mange Tout’, complete with top-hat-and-cane, which somehow feels right at home for Del.

But at the centre of it all is a script that understands exactly what made Only Fools so cherished. Co-written by Whitehouse and Jim Sullivan (son of creator John Sullivan), the musical doesn’t rely on old jokes or catchphrases – though it certainly utilises a fair few of the best – it captures the spirit of this show, a pure blend of family dysfunction, stubborn optimism and heart.

Ultimately, it’s an improbable but glorious success. It’s a joyful blend of nostalgia and reinvention – part affectionate tribute, part fresh take, adding just the right dash of showbiz sparkle to one of the most beloved sitcoms of all time.