Celebrating the 150th anniversary of Henry Cyril Paget’s birth, How to Win Against History returns to the Edinburgh Festival Fringe, in a production that is daring, dazzling and diamante-studded.
This camp musical romp tells the story of Paget’s life, from childhood to becoming the 5th Marquess of Anglesey, and ending in his untimely death at the tender age of 29. Misunderstood and ostracised because of his “otherness”, young Henry strives to understand what masculinity means, and how he can ever be his true self. With his family destroying almost all trace of him after his passing, Paget symbolises the queer erasure that has been so present throughout history, and is continuing to happen today.
Writer/performer Seiriol Davies is our glitter-clad, sparkling lead, while “straight man” Matthew Blake plays his friend and director Alexander Keith. The book and lyrics are expertly penned, and performed by the duo plus a five-piece band. Consisting of Musical Director Dylan Townley on keyboards, Henry Miller on drums, and a three-strong brass and woodwind section (made up of Mark Harrison, Rhiannon Harrison and Flick Isaac-Chilton), they add to the piece in myriad ways, from their musical prowess to their tight harmonies and smaller acting roles. The costume design too is outstanding, and the staging slick.
After several years of bed rest following an illness, Henry is under social pressure to marry. Amid a judicious use of air quotes, Paget becomes engaged to Lillian, and the pair promise to allow each other to be their true queer selves. Unfortunately, Henry is a narcissist, and treats his new wife terribly, leading her to leave to start her own “spin off” life. Perhaps the next iteration of the show will give us that story?
Paget is expertly played by Davies, who takes a fundamentally flawed human being and still makes the character incredibly sympathetic and likeable. It also doesn’t hurt that they have a superb voice, and stage presence by the bucket load. Blake is as versatile as he is strong, moving effortlessly between his numerous characters with a nod and a wink, yet managing real sincerity when the plot darkens.
The difficulty with devising work based on a true story is that you do not always get to choose the narrative. There are some dips in the energy and drive of Paget’s tale, which loses momentum part way through, and though enjoyable and entertaining feels overlong. Once he blows his fortune on unsuccessful theatrical projects – which seem to be his only way of living as he wants to – there seems to be little left for this production to say.
How to Win Against History appears to have been a labour of love for Davies and the team, who have been working on the piece for almost a decade. The songs are well written and expertly performed, in particular the musically masterful ensemble pieces, but while we learn much about Paget’s existence, we learn less about his inner life.
By Deborah Klayman
How to Win Against History plays at Udderbelly, Edinburgh until August 24th, 2025.
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