Following on from the success of the stage adaptations of Dad’s Army and ‘Allo, ‘Allo!, writers Dick Clement and Ian La Frenais, have come together once again to adapt their 70s prison sitcom, Porridge for the stage. In their classic story of camaraderie, the young criminal Godber finds a friend in the unlikely form of Fletch, who teaches him about the sometimes harsh, but often hilarious ways of surviving prison life.

Porridge’s various screws and cons are carefully reconstructed without losing any of the charm of the original

Beginning with Godber’s (Daniel West) arrival at H.M. Prison Slade, the theatrical version of Porridge remains faithful to the original TV series, as a selection of the most famous scenes from each of the three series are resurrected in order to tell the story of the loveable “career criminal”, Fletch, (Shaun Williamson) and his various escapades during his latest 5 year stretch inside.

Clement and La Frenais’ stage adaptation of their classic sitcom is a slick and warming tribute to the lasting legacy of Porridge and to the comedic talents of the late Ronnie Barker. Director Gavin McAlinden, the artistic director of Charm Offensive, has succeeded in bringing a nostalgic 70s sitcom to a contemporary audience, with the help of a talented cast, as Porridge’s various screws and cons are carefully reconstructed without losing any of the charm of the original. The bond between the West’s naive Godber and Williamson’s jaded Fletch remains as tight as ever, while the juxtaposition between the liberal leanings of the screws Barrowclough, (John Conroy), and the regimented discipline of Mackay (Nicholas Lumley), was one of the show’s highlights. But while the production remained true to its predecessor, Porridge’s weakness lies in its lack of substance, as aside from one brief reference to the financial and political climate of 1975, while, not unlike our present political climate, with growing resentment towards the Labour government and Gordon Brown, is just a little too thin. But contemporary references aside, this is a fun production that acts as fitting accolade for an era long gone, but not forgotten.

Showing @King’s Theatre until Sat 13 March