The Comedy About Spies

The Comedy About Spies

“Shaken, stirred, and sensational”

The stage is set with an artistic, deco-inspired representation of London city scape, and I absolutely loved this stylised look. It instantly evokes a sense of place while playfully nodding to the era and genre we’re about to dive into.

The comedy comes thick and fast right from the outset, with a hilariously executed routine surrounding the spies and their code names. While this sequence helps set up the rest of the play, it also works beautifully as a standalone sketch. The timing and inflection were spot on, and the whole thing had the audience howling.

The overarching plot involves two sets of spies; one American, one Russian, each trying to identify the turncoat ahead of a high-stakes handover. As you might guess from the title, this isn’t quite as straightforward as it sounds, and chaos naturally ensues.

Set in the early 1960s, the show cleverly incorporates just about every spy trope imaginable. Beyond a brilliant car chase, we get secret codeword exchanges, concealed weapons hidden in everyday items, and dead-drops galore (including a ring). This parody of the spy genre manages to cram in nearly every style of comedy you can think of – and while some reviewers bandy around phrases like “a masterclass in comedy” far too easily, in this case it’s completely justified.

The production is brimming with slapstick and physical comedy. Henry Lewis, playing Douglas Woodbead, feels entirely at home in his exaggerated movements and visual gags. One moment involving a washing machine had me in absolute hysterics. A highlight of the show’s farcical approach is Dave Hearn as Lance Buchanan, his entrance through windows and rooms, all while attached to a rope, was a total delight. I’m sure you can guess what happened next, but I’ll resist the urge to spoil it.

Amidst the action, there’s even a touch of romantic comedy. Henry Shields (as Bernard Wright) and Adele James (as Rosemary Wilson) share some lovely moments of will-they-won’t-they connection. My favourite was when Rosemary tried to speak earnestly to Bernard, only for him to keep passing out, missing her every word due to circumstances beyond his control. It was beautifully timed and fit the tone of the show perfectly. On a side note, I couldn’t help but notice that Shield’s voice was oddly reminiscent of Basil Fawlty, which only added to the charm.

Every character has a clear role to play, and despite quick changes in costume or accent, it’s never confusing. I particularly enjoyed Greg Tannahill as Albert Tipton and the absurd lengths he went to in pursuit of his objectives.

The set design by David Farley is every bit as madcap and impressive as the show itself. The interior of the hotel was wonderfully detailed, complete with old-fashioned payphones, velour seating, and two retro lifts. I was slightly disappointed that the lift indicators didn’t move, a small detail, but one I’d have appreciated or it could have matched Big Ben with no hands.

The real showstopper was the transition to the hotel bedrooms. Using four cube blocks in a 2×2 formation, each room featured false perspectives and cutaway walls, enabling the audience to see the action from all angles. Each room had a distinct colour scheme, making for a visually stunning spectacle and giving director Matt DiCarlo plenty of opportunities to stage some brilliantly chaotic moments. The clever use of travelators across the stage brilliantly enhanced the sense of pace, aiding the frenetic running and seamless movement through the hotel’s corridors.

This show has all the twists, turns, and espionage tropes you’d expect combined with gags galore. I would have liked to see just a little more character development. A brief moment of dialogue between Wilson and Woodbead hinted at a deeper layer beneath the comedy, but it was never explored further. Still, this is a small quibble in what was otherwise a laugh-out-loud night at the theatre.

****

Reviewed by Valentine Gale-Sides

Photos by MattCrockett