Skip to main content

Derren Litten – Benidorm Live

Derren Litten was at the TV Choice awards the night before we’re due to talk about Benidorm Live, the writer’s new musical stage adaptation of his hit package-tour-set sit-com, Benidorm. Litten’s show, which has run over ten series’ over the last decade to ever-expanding audiences, was named as best comedy. Given that the producers at ITV who made the show had not long cancelled Benidorm, there was no little irony in it scooping such a popular accolade. This was something Litten made reference to in his acceptance speech.

“I said something about how any channel that can cancel a show that’s still getting five and a half million viewers and which can still win an award has bigger balls than I’ll ever have,” Litten says the morning after. “It was a bit awkward at first, sitting at this glitzy do next to the people from ITV who’ve just cancelled my show, but for a night out, it’s one of the better awards ceremonies. Because it’s not televised, it gets quite raucous, and when we won, it was nice to go out on a high.”

The award may have marked the end of Benidorm as a TV programme, but the eight-month tour of Benidorm Live that has just opened in Newcastle prior to arriving in Edinburgh next week should ensure that Litten’s creation lives on a while yet. Featuring six original members of a fourteen-strong ensemble that filtered through the programme at various points over the last decade, Benidorm Live has been a long time coming.

“I think it was during series four or five that I had an idea of doing it onstage,” says Litten. “There’s a long tradition of putting sit-coms onstage. Hi-De-Hi!, Are You Being Served? and ‘Allo ‘Allo! have all done it, so it seemed like the obvious thing to do, but it took so long for us to do anything. Then when we went from half-hour to hour-long episodes, that meant it took about nine months to do a series, so there wasn’t any time.

“Then we ended up doing a Benidorm sketch at the Royal Variety Performance in 2017. It was just a small thing between acts on a bare stage with no scenery or anything, but as soon as they played the theme music the audience responded, and it went really well. That was probably when we realised that we could put the TV show onstage in some way, although at the time I didn’t have a clue what way to go with, and when ITV were dragging their heels over what was going to happen next with Benidorm that’s when we started thinking about it seriously.”

Producers had long been hovering over a potential stage version of Benidorm once they got wind of Litten’s idea. The current show is a long way from some other suggestions that were bandied about.

“Some producers wanted to do it in arenas,” says Litten, “but I didn’t want to do that. It would have been easy to do that, but the atmosphere of places that big aren’t conducive to something off the telly. People have been watching Benidorm on telly for ten years, but what’s the point of doing it in an aircraft hangar and watching it on a screen again because you’re so far back?” 

The result so far for Benidorm Live has seen much of the programme’s audience base lap up a story that picks up where the end of the final series of Benidorm left off. This sees a new company taking over the Solana all-inclusive hotel, where the show is set, closing it down for re-development and leaving staff and guests out on their ear.

“What’s been nice,” says Litten, “is that there’s been appreciation of all the actors in the show, and there’s been as much love for the new characters who people don’t know as there is for the ones people already know from the telly. There are a lot of characters in sit-coms you don’t see, but who you’re familiar with, like Captain Mainwaring’s wife in Dad’s Army or Arthur Daly’s wife in Minder, so we’ve played with that.

“An old mate said something interesting. He said, don’t take any offence, but I think it works better onstage than it does on telly, and I kind of know what he means. It’s a big, broad thing, and kind of lends itself to the stage.”

Litten’s career began as an actor, and he has made several cameos in Benidorm. He started writing by accident when his friend Catherine Tate, with whom he was at drama school, asked him to write for her eponymous sketch show. From this, legendary comedy producer Geoffrey Perkins asked him to write his own show.

“I wrote a sketch about a couple of middle-aged swingers,” he says of characters eventually played by Janine Duvitski, who appears in Benidorm Live, and the late Scottish actor and director Kenny Ireland. “I initially set it in a suburban house, but thought that was a bit dull, so set it around a hotel pool, and gradually felt my way with different characters. Hopefully after ten years I know what I’m doing now.”

The appeal of Benidorm clearly stems from Litten’s love of old-school sit-coms that seemed to have been all but killed off.

“When I was growing up,” he says, “there were things like Rising Damp and stuff like that which were about normal working class people but I remember at the time I was writing Benidorm, there were sit-coms like My Family and 2 Point 4 children, which were all terribly middle class, and which I couldn’t relate to. I’m from a working class background in Hull, and the one thing I could relate to was The Royle Family. Obviously Benidorm turned out completely different. It sounds quite patronising talking about the working class, but we all go on holiday, and we become different people for a week and I think that’s where the comedy stems from.”

With Benidorm a possible victim of Brexit and the fall of the pound in terms of production costs, Litten is staying closer to home with a new series, set to begin shooting next year.

“It’s called Scarborough,’ he says, “and is obviously set there, but is nothing like Benidorm.”

Might Benidorm Live herald a U-turn by TV executives that might see Litten’s show return to the small screen, and if so would he be interested?

“I would say no,” Litten ruminates. “It seems these days that people leave shows, there’s a big fuss about it, and then they go back, but I think it’s better to look forward than look back. There’s a new box set of DVDs coming out packaged in a box the shape of a suitcase, and for me that’s ten years’ work, time to let it go.”

Benidorm Live, The Playhouse, Edinburgh, September 17-22; King’s Theatre, Glasgow, February 4-9 2019; His Majesty’s Theatre, Aberdeen, March 4-9 2019.

The Herald, September 13th 2018


ends

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...