Reviewed By Kitty McCarron November 3rd, 2015

Best bit: Seeing Simon Russell Beale on top form as the embittered Samuel Foote

Any boring bits: The rather needlessly cerebral asides, exploring the nature of celebrity and the effects of personality on the audience, via the theories of an animated Ben Franklin.

Who would like it: Georgian Theatre and history enthusiasts.

Who wouldn’t like it: People who might be more comfortable over the road at Phantom

Verdict: Three out of five

Like many of my own A-Level essays, Ian Kelly's adaptation of his own book about one of the Georgian period’s forgotten pioneers has many intriguing notions, but is unable to fully realise any into a cohesive piece. That is not to say Mr Foote's Other Leg doesn’t score straight A's for effort, indeed it is probably impossible to cast such talented actors, led by the imitable Simon Russell Beale, and end up with a flop. However, as one of my poor teachers might have thought, it just doesn't quite hit the mark, with the result being a fine, but not memorable evening out at the theatre.

The titular Mr Foote, a victim of his own popularity as much as nominative determinism, was a real person, an actor, stage manager who had an eye for satire in the restrictive era of the 18th century, a time when the Lord Chamberlain has imposed heavy censorship on the arts due to a perceived lawlessness in theatres. Foote and company, operating out of Theatre Royal Haymarket (then without its royal charter) find numerous ways around the ban on religion, sex and general depravity, and it is in this guise that the play finds its best lines and characterisation. Alongside Mrs 'Peg' Woffington (Dervla Kirwan), his dresser Frank (Micah Balfour) the scheming and bitching makes for a hilarious caricature of the theatre, the media and the place of the actor between the two admirably. And the memorable incident that takes his left leg (horse riding whilst dressed as Othello in a bet between him, Prince George and David Garrick (a fine Joseph Millson) is one of the most immersive parts of the play, ending the first act with aplomb.

But from here, the promised introspective look at the life of one who was called the first celebrity begins to fall short, namely the asides that linger far too swiftly on the wider issues of the time. Social class, sexual and racial politics and freedom are thrown over in favor of strangely jarring lectures from Benjamin Franklin, linking neurology with electricity but never quite making the point. For these faults though, SRB convincingly falls into a mania as his star rises, but the final reckoning that loses him his reputation is forced and again, too fast, leaving you wanting a great deal more exposition.

All in all, the production looks and sounds incredible, due to the designs from Tim Hatley and Richard Hartley, and no one would walk away thinking they had not seen, a charismatic biography, with actors well chosen for their parts and chemistry. But perhaps the fact that the show has transferred into the very theatre Foote once ran was one hurdle too big to pass, and with Kelly will need to revisit his clearly beloved work and subject once more to justify opening in such auspicious surroundings.

Honourable mention: Forbes Masson as Edinbronian Dr Hunter, whose accent changes as he receives elocution lessons and then slowly back as he grows older and just doesn't give a damn anymore. Impeccable.

Mr Foote's Other Leg opens November 4th and runs for a limited 12 week period.

View our show pages for more information about Mr Foote's Other Leg, Theatre Royal Haymarket.