★★★★★

“It truly is a masterful example of dark comedy”

The Double Act is an incredibly witty and fiercely topical dark comedy by Mark Jagasia. It follows Billy Bash as he visits his estranged ex-comedy partner while on tour, discovering he’s now a reclusive madman obsessed with their past. As he appears to wear the title of Britain’s Third Most Offensive Comedian like a reclaimed badge of honour, he fails to recognise the descent of his comedy career. Can Cliff convince him to let him out the dark, and join forces to resurrect their old act? With darker forces from their past at play, that is doubtful.

From the very start The Double Act keeps the audience on their toes asking questions about the next mystery. Beginning with Billy (Nigel Betts) and Gulliver’s (Edward Hogg) search for Cliff (Nigel Cooke) in Cliff’s own flat. Gulliver is Cliff’s lodger, who appears to be deeply affectionate and attentive of Cliff, keen to get him back on stage. Yet after finding Cliff – and questioning whether his pet python is real or not – Gulliver’s true identity and motivations is another mystery the audience is esteemed to investigate. Jagasia succeeds in holding such intrigue and managing to keep everyone laughing with joke after joke that hit on almost every other line. It truly is a masterful example of dark comedy. The themes of forgiveness, guilt, value of laughter and retribution are constant throughout. Billy represents the ‘you can’t say anything nowadays, and yet I’m saying it with no consequence’ comedy brigade, where Cliff represents an almost Christmas future-like ghost of him. And unknowingly to the pair of them, Gulliver is their ultimate critic. The question of Billy’s morals within his comedy style is always alive, in a way constantly brought up by himself as he is persistently on the defence. As Cliff questions “What if some laughs are bad?”, the play takes a controversial and heated debate and transforms it into a meaningful and thoughtful conversation about the value of comedy.

The cast are undoubtedly incredible. Nigel Betts plays Billy with a stern focus, never dropping his proud successful straight man ego. His physicality also of his repeatedly breaking back made me wince. Nigel Cooke as Cliff was adorably child-like, in spite of his insanity driven creepiness. He excels in his physical comedy, as does Edward Hogg as Gulliver, both sharing hilarious moments of movement on stage. Praise here is pointed towards Movement Director Sian Williams. Oscar Pearce’s direction keeps the action constantly moving, assisting the play’s tendency of keeping the audience in anticipation. Overall making the very intimate space, with a wonderfully rundown naturalistic living room design of the set (Sarah Beaton), feel larger than life from the stalls. This is complimented by the subtleties of the sound design (Dan Balfour), which goes from silence to creepy horror music when driving the tension, alongside the occasional spooky snake sound effect.

Overall, The Double Act is a hilarious and exciting show that successfully brings life to comedy ghosts of the past. A masterpiece of dark comedy drama.

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

“the performers put on an impressive show without a moment’s rest”

As the festive season approaches, the time of pantomime comes without holding back. In this production co created by Jermyn Street Theatre and Charles Court Opera, who will be celebrating their 20th anniversary in 2025, we leave all worries (and historical accuracy) outside the entrance doors and enjoy an evening of hilarious covers of popular tunes, disguises and pastries.

In this intimate space, the ensemble bursts with energy and comedic genius as they add a twist in the famous rivalry between the English and the French during Napoleon’s attempt to conquer Europe. On the one side, there is King George (Elliot Broadfoot), the Duke of Wellington (Jennie Jacobs) and Princess Georgina (Amy J Payne) who is disguised as a private in order to fulfil her wish of ending the war. On the other side, there is the infamous Napoleon (Matthew Kellett), standing as tall as he can and savouring the audience’s boos, with Marie Antoinette as his resurrected companion. A legend goes around which says that if one obtains a precious stone in the King’s vault, this person will become undefeated and the only way to open the vault is to use Horatio Nelson’s hand, which Napoleon possesses. Determined to win the war, the English royal party embark on a ship and off they go to destroy Napoleon once and for all.

From Lady Gaga and ABBA to Elton John and Bonnie Tyler, the performers put on an impressive show without a moment’s rest. Merry Holden’s choreography is a fascinating mixture of 80s pop culture and melodramatic inspired moves, performed with perfect synchronisation and gusto. The performers’ voices are highly skilled but also used to heighten the humorous merriment of the piece, with David Eaton’s musical direction subtly, though solidly, accompanying the actors.

There is a clear simulation of a stand up comedy show in the way the sound effects and cheesy punch lines are delivered. At times, not even the actors’ acknowledgement is enough to make the script feel less ridiculous and it is impossible not to roll one’s eyes at the overused jokes and puns. But the actors’ commitment is ardent and the audience is more than happy to sing along, even participate in the games involved onstage. Costumes, (Lucy Fowler) are flamboyant, complimenting marvellously the royal theme and over-the-top tone and Ben Pickersgill’s lighting design does exactly the same by using bright shades of primary colours, as well as sharp spotlights.

Following their previous successful collaboration, last year’s Odyssey: A Heroic Pantomime, it’s safe to say that the electrifying creative chemistry Jermyn Street Theatre and Charles Court Opera delivers what it promises, always finding interesting ways to use well-known stories in an entertaining and inventive fashion. The sparkling direction from Benji Sperring and John Savournin (who also co-wrote the show with David Eaton) lifts the experience to another level. It’s an evening full of musical mischief, baguettes and hearty laughter. This production reminds us why the tradition of pantomimes is such a big part of the festive season, offering entertainment and a sense of release open-handedly to the audience, but also reminding us that life can be ridiculous and wacky, sometimes in the best possible way.

THE DOUBLE ACT

Arcola Theatre

★★★★★

“It truly is a masterful example of dark comedy”

THE DOUBLE ACT

Arcola Theatre

Reviewed on 27th January 2025

by Rachel Isobel Heritage

Photography by Alex Brenner

Previously reviewed at this venue:

THE DOUBLE ACT

THE DOUBLE ACT

THE DOUBLE ACT

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

“the performers put on an impressive show without a moment’s rest”