DERRIÈRE ON A G STRING
King’s Head Theatre
★★★★★
“overflowing with heart, sincerity, joy, imagination, and unapologetic silliness”
Derrière on a G String welcomes you to a fairytale-like stage, with set design by Emily Bestow immediately making us feel as though we are about to witness a beautiful tale unfold. Except this tale is bonkers, inventive, clever, and bursting with laughter and heart – a brilliant piece of physical theatre. From the very first moment, it has the audience laughing to tears, captivating everyone with the performers’ infectious energy and wonderfully expressive performances. The humour often feels reminiscent of silent cinema and classic sketch comedy, while still feeling entirely fresh and original.
Directed and choreographed by Alfred Taylor-Gaunt, the way moments are communicated is pure genius. The show transforms everyday experiences into exaggerated theatrical vignettes that anyone can relate to, delivered with incredible energy and imagination. The idea that humans become objects – an alarm clock, for instance – while ordinary actions, such as showering with a plant-watering bottle, are reimagined in hilariously inventive ways brings a child-like sense of creativity vividly to life. It reminds us that theatre and imagination are limitless if we allow them to be. The possibilities are endless, something we too often forget as we grow older. What makes the production particularly special is how accessible it makes dance and physical theatre feel, inviting even audiences unfamiliar with the form into its wonderfully absurd world.
The production uses classical music as its score, with arrangements by Luke Bateman that are both hilarious and respectful of the technical beauty of the music itself. Running throughout the show is the recurring motif of the G-strings, cleverly woven into the comedy. The costumes, designed by Reuben Speed, are equally wonderful, enhancing the fairytale-like atmosphere while seamlessly supporting the constant transformations taking place on stage. The show also embraces a gloriously camp and queer energy without ever losing its emotional sincerity.
The performances are exceptional throughout, with expressions and physicality that keep the audience enthralled from start to finish. Every cast member deserves recognition. Sammy Moore as Flop is utterly charming, with extraordinary lip-syncing skills and brilliant audience interaction. Cam Tweed as Drip offers a fresh interpretation of Swan Lake and shines particularly in scenes alongside Grunt, played by Ryan Upton, where the pair hilariously dismantle traditional masculinity while showering the stage with rainbows and love. Upton’s performance throughout is equally memorable, providing countless standout moments. Alice O’Brien’s Slosh is endlessly charming, and audiences will undoubtedly remember the warmth she radiates whenever she connects directly with them. Courtney Cyrus as Twitch delivers deliciously edgy and twisted dreamlike sequences, while Ena Yamaguchi brings equal charm and versatility to every character she portrays. All six performers are exceptional dancers who give everything to the production. What is perhaps most impressive is the company’s razor-sharp ensemble timing, with every movement and reaction landing with astonishing precision. Even when some sketches land more strongly than others, the infectious commitment of the cast ensures the energy never drops, with the fast-paced transitions and constant transformations keeping the audience fully immersed throughout.
The show uses almost no spoken language, relying instead on mumbling, movement, and expression – a choice that feels both beautiful and inventive. It demonstrates how emotions and meaning can be communicated powerfully with minimal words. It is also clear that the cast and creative team share a deep connection, something essential in making a production like this feel so alive and cohesive.
Derrière on a G String is an absolute must-see: a show overflowing with heart, sincerity, joy, imagination, and unapologetic silliness that will stay with you long after you leave the theatre. Created by the wonderfully inventive company Somebody Smith and Moore, it is a reminder of just how limitless theatre can be when it fully embraces play, absurdity, and human connection.
DERRIÈRE ON A G STRING
King’s Head Theatre
Reviewed on 12th May 2026
by Nasia Ntalla
Photography by Charlie Flint
