It’s only a few months short of twenty-five years since we saw the original West End production of Spend Spend Spend and were completely bowled over by it. So much so, that we even bought the cast CD at the Piccadilly Theatre – one of our better financial investments, as it was only ever sold at the theatre and nowhere else; have a check at what you can sell it for online and be amazed. When I discovered that a revival was due to be the Christmas show at Manchester’s Royal Exchange, I needed no second bidding to buy tickets.

The story of pools winner Viv Nicholson is the stuff of legend. Her rags to riches to rags life contains every drama under the sun. The struggle through poverty, followed by a lucky win in 1961 that made her and her husband Keith celebrities; fame and fortune that they couldn’t handle, and clearly were given insufficient good advice (or they chose to ignore it), which resulted in them basically drinking away everything they owned. Reckless living cost Keith’s life, which was followed by Viv enduring a string of unsuccessful relationships; but the one thing you can always say about Viv was that she was one of life’s survivors.

It’s invidious to compare productions, but sometimes it’s helpful to do so. The original production of the show not only featured a star cast (Barbara Dickson as the older Viv) but it had the benefit of choreography by Craig Revel Horwood and design by Lez Brotherston. It pulled no punches with its content, frequently making the audience uncomfortable with its portrayal of domestic violence and alcohol-induced abuse. Even in its first introductory scene, you could sense the contempt in which her community held Viv for having had it all and then lost it all – silly bitch, jeered her hair salon customers.

But Josh Seymour’s production, by contrast, is a sanitised, indeed rather cosy account of Nicholson’s life and loves. This may well be due to the tastes of the times, but the domestic violence is here very much played down, and rather than being backfooted by the contempt of her peers, this Viv is merely bored with their incessant curiosity. The only time that the contempt truly stings is in the excellent staging of the song/scene Garforth, where the well-to-do neighbourhood at first accepts their new celebrity incomers, but then turns against them as they reveal they have no class.

There’s another superb number, Drinking in America, which shows the Nicholsons, now unwelcome in both their original neighbourhood and in their posh adopted one, fleeing to the States, merely to spend their time there sozzled, wasting every opportunity they are given. The production could choose to show them absolutely obliterated by drink, and as examples of a true human tragedy; but rather it shows them in a too affectionate light, comfortably tipsy and happy to knock back the Cliquot rather than experiencing everything America has to offer.

Fortunately, the show is blessed with a knock-out title song that brings the first half to a close and sends everyone away humming it loudly in the foyer. When Viv was asked what she was going to do with the money, she said she was going to spend, spend, spend, and the song is a triumph of expressing that absolute exhilaration of the luckiest moment in your life, and the promise that from now on everything will be better than your wildest dreams. The dramatic irony that we know this is not how things turn out, but young Viv and Keith are ecstatic with delight, is a theatrical revelation that alone is worth buying a ticket to experience.

Rachel Leskovac made a splendid decision to take the role of Viv, having played Young Viv in the West End production, and having met the real Viv as part of the preparation for the show. Viv watches and narrates her own story, reacting with both humour and affection, and anger and criticism, at some of the slings and arrows that came her way. She makes a great double act with Rose Galbraith, playing Young Viv, who conveys all the character’s youthful enthusiasm and green judgement; and they sing superbly well together creating some amazing harmonies.

Alex James-Hatton plays Keith as a very likeable lad, Joe Alessi is a nicely whinging George, and there’s excellent support from the entire ensemble. The scene where the football results are acted out by a pair of soccer players is a true delight. And, although I would have liked the production to have a little more bite and edge to it, it’s still a powerful story with some great musical highlights and good all-round performances.

P. S. You’ll never believe this, I know, but with more than 2,700 performances seen over more than fifty-five years, this was my first visit to Manchester’s Royal Exchange. And what an incredible place it is! Beautiful, creative, welcoming, quirky and with a terrifically excited vibe pre-show, it will not be my last visit!

Four They’re Jolly Good Fellows!