As they gathered to discuss the possibility of doing a new play called ‘Marvellous’, I wonder if the New Vic’s creative team ever dreamed it would be quite as blooming marvellous as this. I supplicate myself before them. For they have created one of the most joyous and inventive shows I have seen in decades.

‘Marvellous’ is a word that regularly passed the lips of Neil Baldwin, born and bred in Stoke, who is locally famous for being locally famous. Remarkably, there is a book about his life story, which was recently turned into a television film about his life story (starring Toby Jones), and which has now been turned into a crazy, rumbustious play about his life story (starring a square-jawed Michael Hugo and six other incredibly adventurous actors).

The fact that he’s such an uncomplicated character doesn’t bode well in an art form that thrives on conflict. However, this show turns that, and almost every other theatrical norm, on its head. And there is a good reason for that.

It’s subject, Neil Baldwin, is clearly utterly adored by absolutely everyone who knows him (that is, most people in Stoke). To an outsider like me (living in Shrewsbury) this is a complete mystery. His achievements in life are modest and small-scale; hardly the stuff of plays. But he does have one towering quality. He is an extremely nice man who likes to make people laugh. He is cheerful, endlessly positive and great fun to be with.

When Stoke City’s manager Lou Macari appointed him ‘kit manager’ he said it was the best signing he’d ever made. He generated such a unique sense of optimism and self-belief in the dressing room. Positivity was rife and to the fans he became a greater living legend than the players.

His secret is that he is ‘neurodiverse’. This is such a big secret that Neil himself doesn’t seem to see it. Yet he thinks and acts ‘differently’ often in ways other people wish they had the courage to. Consequently, he’s innocently wheedled his way into impossible situations. In the play, we see how he becomes a self- appointed life-long ambassador for Keele University, how he high-jacks his own BAFTA awards ceremony and embarks upon a career as Nello, the circus clown. We even see his character talk his way out of the stalls and onto the stage as everyone who knows about him is expecting him to. He has no right to do any of these things but he does. And that is the absolute charm of his story.

The way the show is put together is quite outrageous. Neil isn’t actually in it though I suspect he’d love to be (and he is there every night). Instead, a brilliantly drilled and choreographed band of actors (some of whom are also neurologically diverse) all take turns at playing him.

There are a few touching moments of sanity; his learning struggles as a child and his mother’s failing attempts to prepare her son for her own demise. But Neil is such a cheerful chappie, he didn’t want the cast to dwell too much on that kind of thing. Instead, the chaotic, happy-go-lucky show is played almost entirely for laughs; and it is wonderful to able to affirm that the rolling audience is affectionately laughing exclusively with Neil’s story, not at it.

The crackpot characterisations are stratospherically over the top. The circus acts are absurdly potty. And there is a pantomime kitchen scene that gets completely out of hand. It’s a real rag-bag of tried and tested theatrical techniques, executed with enormous enthusiasm; punctuated by occasional cock-ups and loose moments when the cast pause to get their heads back together again.

The evening is shot through by flashes of brilliance. Jerone Marsh-Reid steals one scene playing a petulant child who can’t get his own way in a game of football. Gareth Cassidy has a dazzling array of accents to bamboozle us. Daniel Murphy is particularly impressive on stage, working closely with Charlie Bence and Alex Frost. Suzanne Ahmet carries on acting despite being hopelessly covered in cack. And Michael Hugo is completely convincing as the ‘real’ Neil. It’s Michael’s ability to fully understand the man that puts this play on the highest possible pedestal.

If ‘Marvellous’ had been staged 30 miles down the road, I suspect it would have struggled for audience. But here in Stoke, it’s an absolute winner. And whilst I’m sure the New Vic has a whole load of new shows queueing up to get on stage, I warrant that ‘Marvellous’ will be back for a second run before too long.

Five stars.

Reviewed by Chris Eldon Lee at New Vic Theatre, Newcastle-under-Lyme on Wednesday 23 March. Marvellous continues to show at the theatre until Sat 9 April.