It's a Wonderful Knife | Old Joint Stock Theatre

It’s Christmas eve eve at the Old Joint Stock, not a creature is stirring, not even a.. Croc? This festive season celebrations continue in Birmingham with a commemoration of two traditional seasonal features and three greats of Christmas past - It’s a Wonderful Life, Crocodile Dundee, and the deceased star of the film ‘Burt the Crocodile’. The new work with a book written by James Edge and direction by Lily Butcher is exactly what is needed from a Christmas show, exploring themes of loss, friendship and reflecting on the past without giving in to limiting itself stylistically because of this.

The show is a self-described ‘shamelessly self-aware’ musical that takes us through time on a journey to see what might have happened if Australian co-star of the Crocodile Dundee franchise Paul Hogan had never been born. Guided by the ghost of his old friend Burt, we meet a variety of characters in this alternate reality who are all part of teaching Paul just how important his life has been, and helping Burt earn his wings at the same time. The show is continuously splattered with hilarious musical theatre and pop-culture references, combined with a quirky plot that make it undeniably made for fringe theatre - and in bold camp fashion is proud of what makes it that way.

When writing new musical theatre, there is always a risk taken that the music and plot may not intermingle as we hope, or are simply not interesting enough to enjoy. It’s a Wonderful Knife manages to evade any concerns with ease, with composer Adam Cerber weaving catchy musical numbers throughout the plot that enhance the energy on stage rather than forcing it in any particular direction, and credit also goes to musical director Maddy Lygo for bringing the score to life, ranging from classically cheesy MT openers to emotional solo ballads and almost all in-between without a weak spot. Significantly aided by Edge writing both the book and lyrics, both elements were perfectly attuned to each other and the narrative flowed smoothly with a driving pace, allowing just enough time to sit on comedic moments in the show without getting lost in a gag, and touching base with the emotional core of the show frequently enough to keep the audience engaged with the shows themes.

This show doesn’t just have the privilege of a fantastic writing and creative team, it flaunts a cast full of talent and energy to bring it to the stage. The two leads, Paul Westwood as Paul Hogan and Oliver Cartwright as a glammed up Burt the Crocodile in full suit and tails, both giving strong performances in their own right. Westwood excels in the powerful solo ballads given to the character as he contemplates his existence and the worth of his life, giving great care to the heaviness of the themes explored in this show despite the lighthearted chaos of the plot he finds himself swept up in. Cartwright perfectly opposes his scene partner's grounded, sombre energy with flamboyance and a flippant approach to his friend's low moods that allows for highly comedic tension and growth in both characters to meet each other in the middle. Burt's character has no small presence on stage, taking charge of their whole reality and proudly commanding every scene he’s in - Cartwright possesses the perfect stage presence to bring this character out to his fullest, revelling in every glamorous

entrance and sassy quip that maintains the tone of the piece.

Backing up the two principals were a stellar ensemble cast each with impressive vocal power individually and as a chorus, and unique individual charm in each of their supporting roles. Thea Jo Wolfe as Kylie Minogue (and others) sets a high standard as a powerhouse performer, taking the stage as actress Linda Kozlowski for a playful belter solo, easily taking control of the number and making a memorable impression with her precision in acting through song and for taking advantage of the highs and lows of the songs to give a firm understanding in just a few minutes of everything we need to know about this character. Will Usherwood-Bliss seizes our attention in his ensemble roles as Hugh Jackman (and others), spilling over with constant infectious energy and a sense of urgent drama and self-awareness in his performance that brings the show to a new level of camp. As the most physically commanding member of the ensemble, he carries a bounding youthful energy that drastically heightens the atmosphere on stage, and a way of quickly working the audience in his favour that relaxes and intrigues us.

Finishing off the trio is Tom Kitely as Arnauld Schwarzenegger (and others), covering perhaps the widest variety of roles in the show and tackling each with subtle charisma that makes him easy to watch. Kitely shines as a versatile performer in the show, especially in contrasting solo numbers such a recurring comedic theme as domineering Arnie, and an inspirationally introspective piece as the unforgettable Steve Irwin, a man who has the same quiet confident charm as Kitely holds on stage making this the ideal moment for him to stand out as an actor as well as skilled vocalist, lulling the audience into a peaceful state of being, perfect for that scene to land most effectively.

With the limited space in the Old Joint Stocks intimate venue, it’s exciting to see the country-esque work of George P. Martin taking up the space, providing a physical stage for the performers to use to create levels and establish physical boundaries, giving themselves more opportunities in the limited space they have. The set is a detailed design that lands us firmly in the environment and creates anticipation for fans of Crocodile Dundee who are watching the show for the promise of outback adventures, and a few limited moving parts are used to set up different locations, with many of the changes being indicated by the lighting design.

While it is exciting to think that the show is so close to a perfect spectacle, there are unfortunately a few minor details, often expected in new work, that let the production down. Primarily, the first number of the show felt somewhat hesitant, or confused - not as if it was poorer quality material than the rest, but more so that there are moments of overlapping dialogue and ensemble action that may benefit from more clarity and sharpening. Secondly, in this performance there were occasional issues with mics and sound, such as feedback and sound being cut and not being able to hear some moments of the performance under music because of it. Fortunately, there is potential for both of these things to be resolved simply as the run progresses, and there’s very little doubt possible that the show will grow into an even slicker and exciting evening of brilliant entertainment.

It’s A Wonderful Knife is a fantastic, festively camp retelling of two Christmas classics, born out of remembrance, nostalgia and pure love of theatre and entertainment through and through. Led by an all-star cast and over-flowing with tongue-in-cheek comedy and universal pop-culture references, the show is a firm reminder to treasure our loved ones, and appreciate how our experiences have shaped not just us, but the world around us. Despite a few small hiccups that need smoothing out as the show develops further, it is a must watch to get into the festive spirit for anyone wanting to leave the theatre with a warm jolly feeling in their hearts.

It’s A Wonderful Knife runs at the Old Joint Stock in Birmingham until 30th December 2025.

Tickets and More Information

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Perro Loco Productions