Weird Britannia: Only in Blackpool

Whilst the concept of the musical episode or even musical series has become something of a staple on American TV, in Britain these come few and far between.

This apparent lack speaks volumes about the British temperament. Just as our comedies often have a darker, more cynical streak, the absence of musical performances on British TV sets us apart from our more optimistic transatlantic cousins.

Even so, the 2004 BBC miniseries Blackpool acts as the exception to this rule. It makes full use of musical performances with a star-studded cast and brings a fun and campy atmosphere to what would otherwise be a run-of-the-mill detective drama. More than that though, it displays how you don’t have to forego the musical genre to create an expressly British story.

That said, it’s not as if Blackpool follows the conventions of musical Television. Take Buffy the Vampire Slayers’ ‘Once more, with feeling’ for instance, which arguably sets the standard: it contains all original numbers performed by the main cast, each of which make sense within the story as the plot revolves around a Demon that makes people burst out into song and dance. The very concept of the musical is made more palatable for the audience because of the show’s self-awareness, suggesting that general audiences find musicals off-putting.

In Blackpool, a very different approach is taken. Characters do randomly begin singing with no apparent reason. This can be quite jarring, especially to the unaccustomed. The lack of any build up or transition into the music really does the show no favours although by beginning the series and the majority of episodes with a musical number first, the audience are admittedly prepared for what’s to come.

Nevertheless, these aren’t typical musical numbers either; most likely inspired by 2001’s Moulin Rouge, Blackpool takes a jukebox approach, using a selection of pop hits that, for the most part, advance the story. Once you can get your head around the musical logic of the show then, as is also the case with Moulin Rouge, it’s fairly easy to get on board with what it’s doing.

Like Moulin Rouge also, this is all part of the charm. You won’t find contemporary pop songs in the series but an eclectic mix ranging from fifties hits to eighties dance classics. Like any musical, there’s an inherent campiness that Blackpool fully embraces, whereas other shows choose to dial this down by adding in a sense of realism.

For instance, where else could you see an ensemble led by David Tennant performing a fully choreographed dance to The Smiths’ ‘The boy with the thorn in his side’ to represent a drug bust? It’s weird maybe but it’s certainly memorable, and also if you’re a fan of both Doctor Who and the Smiths like I am, then it’s something of a dream crossover. That is unless Doctor Who were ever to do an historical featuring The Smiths.

Yet this all comes back to the setting which acts as the series’ namesake: for better or for worse Blackpool is a one-of-a-kind sort of place. The series makes that very obvious. It’s inherent trashiness and inherent charm are presented side-by-side and in equal parts. More so, they are embodied by the central character Ripley Holden, excellently portrayed by David Morrissey. He’s a powerhouse of a character, a no-nonsense businessman, rough around the edges, and reflecting the darker side of the town but he also possesses a likability all the same and a love of life that encapsulates Blackpool’s appeal.

David Tennant’s Detective Carlisle on the other hand, reigns judgement down on the place, an outside officer brought in to investigate the murder that occurs at the end of episode one. Like the viewer, he can see Blackpool for what it really is, and Ripley Holden for what he really is. Crucially though, he’s still able to get in on the fun.

And just as well. It’s ultimately quite a dark story that Blackpool is telling, one that would end up quite drab, depressing even, if it stuck to that tone. But, with its unique setting, unique charms, and unique format, Blackpool is elevated to something else entirely. It captures the essence of the place.

Blackpool is therefore an anomaly when it comes to British television. There aren’t any other instances of prominent musical performances on primetime TV, at least not until Doctor Who attempts the inevitable musical episode, and even if it was attempted, it’s highly unlikely that it would work.

Rather, it only works in Blackpool because big bombastic musical numbers are perfectly attuned to what the show is trying to go for. Whilst in a lesser show they would make it oddly Americanised or come across as jarring and forced, here they brilliantly complement the series as a whole. More than that, it’s the musical numbers that make the show.

So what of the British temperament? Is it even able to comprehend musical television? Well, Blackpool is certainly a bit of a deep cut nowadays. It was well-received at the time, particularly critically, but I’m not even sure the actors would remember it nowadays.

 If you give it a chance though, it’s certain that the series will impress. Who knows, perhaps one day something like Blackpool will come along again. Until then, it’s at least notable if anything else, especially amongst the same old television, and altogether it’s certainly very Blackpool.