The story of Henry Paget, 5th Marquess of Anglesey, marks the fascinating true story behind high camp musical How to Win Against History. Originally playing the festival in 2016, the production returns to mark the 150th anniversary of Paget’s birth. Bringing glitz, commanding musical numbers, and sharp humour and wordplay, How to Win Against History is a Fringe delight.
This reviewer’s only prior knowledge of Paget came in the form of Marc Almond’s cult pop anthem The Dancing Marquis, but How to Win Against History fleshes out his unbelievable story with a different type of camp pomp. Inheriting a vast fortune, Paget squandered his wealth on dresses and barely-attended plays, turning his family chapel into a stage for these vanity productions. Revamping his story into a musical, the piece tackles masculinity, privilege and failure, tapping into the lines between tragedy and comedy.
Henry Cyril Paget may never have found mainstream success, but the slick polish of How to Win Against History presents his tale as a crowd-pleasing musical with a gag rate that would make David Zucker clap. Taking on the conventions of Edwardian Britain, the musical gradually deconstructs them through the boundary-pushing Paget, impressively played by Seiriol Davies (who also creates the book, music and lyrics). Defying expectations of masculinity, Paget obsesses over theatre, frocks and excess, something one with vast fortunes can certainly allow themselves. This flipping of masculine, empire-driven patriotic ideals is crystallised in the hilariously camp Boots and Feathers musical number, a real showstopping standout.
The Underbelly Big Belly venue is transformed into an art deco music hall, a circular podium stage surrounded by a five-piece band including a brass trio, piano and drums. The band are drawn into the performance, never feeling static. In a similar way, the piano is utilised at several moments as a prop and secondary stage, with performers regularly climbing atop. Opening with instrumental spins on Bruno Mars anthems, the music generally retains a funky, dancefloor-driven vibe with numbers such as Mainstream and Please Everybody (The Touring Song) impressing in their high-energy spectacle.
Seiriol Davies leads with confidence as Paget, capturing a trailblazer unaware of their impact, a true free spirit pushing boundaries in a gently defiant manner. There is a vulnerability to Paget, with Davies capturing his almost child-like innocence, something gradually stripped away as Paget’s art is not met with the success he craves, pushing him to adhere to societal norms, or at least those approved by The Daily Mail. Praise should also be heaped upon the masterful turn of Matthew Blake, who takes on numerous supporting roles, but primarily that of Alexander Keith, a somewhat opportunistic actor who collaborates with Paget. Blake brings a commanding humour to the fold as the Edwardian thespian, yet proves himself a true champion of Paget’s free-spirited endeavours.
At ninety minutes, How to Win Against History feels somewhat bloated and the final act can drag – particularly as the narrative becomes bleaker and the high energy fun feels somewhat drained in the exploration of Paget’s final years. A subplot with Paget conforming to the mainstream expectations of masculinity is rather on the nose, and a narrative angle about tweed overstays its welcome.
How to Win Against History is a witty and well-crafted musical, shining in its joyous reclamation of Paget’s life, now restored with the compassion and success it deserves.
How to Win Against History runs as part of Underbelly’s Edinburgh Festival Fringe line-up. Get tickets here.
Photo: Oliver-Rosser
Artwork Feast-Creative
