Benji Sperring Archives - thespyinthestalls.com

★★★★

“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.

Night of the Living Dead Live!

Pleasance Theatre

Reviewed – 16th April 2019

★★★

“full of unique and inventive ideas that create an air of originality to the play”

Based on George A. Romero’s classic 1968 movie of the same name, Night of the Living Dead Live! translates the horror story to the stage. This comedic adaptation is stylish and performed brilliantly with some exciting theatrical twists, however it doesn’t quite live up to its horror-comedy expectation.

The show opens with the murder of Ben (Ashley Samuels), who has been hiding in a house from ghouls, which are essentially zombies. Discovered by the Chief (Mike Bodie) and his sidekick Vince (Tama Phethean), the story then rewinds as we watch how the whole thing unfolded. An eclectic mix of characters assemble, including a squabbling couple, a soppy, loved up couple, and the seemingly vacant Barbara (Mari McGinlay). The first act follows the characters bicker and fight in their attempts at survival, and the second act then diverts from the original film narrative in its exploration of alternate endings; what if the leader of the group was a white, all-American man, or what if the leader was a woman? The show plays out every possibility to test which is the best method to survive the night of the living dead.

The production is full of unique and inventive ideas that create an air of originality to the play. Firstly, a section of the audience is seated on stage, dressed in boiler suits and shower caps, literally seated in the middle of the drama. These members of the audience are invisible to the characters on stage, but they are not safe from the blood splatters and violence that plays out before them; the seating area is quite literally called the ‘splatter zone’. To my relief, I wasn’t seated on stage, but I enjoyed watching those who were – their amusement and horror at being covered in blood became a comedic element in itself.

Secondly, the design of the production (Diego Pitarch) was stylish as it attempted to replicate the black and white aesthetic of the movie. The actors were all painted and dressed monochromatically, as was the entire set, and this was really effective in creating the old movie tone that laced the script and performance in general. This tone was heightened in the use of music; tense country music introduced the scenes (soundscape and compositions Samuel West) alongside dramatic, horror movie sounds (sound design James Nicholson and Paul Gavin) that kept all the audience on the edge of their seats – I heard people gasp and felt them jump when these sound effects were played. The production understood the importance of sound in creating tension and exploited it to its full advantage.

Similarly, performances were strong all round, and every actor managed to intentionally embody that awkward style of the stilted, old-Hollywood performers. Jennifer Harding was a real stand-out, playing two very contrasting characters with absolute conviction and perfect comedy- both the characters of Helen and Judy became a joy to watch. Benji Sperring’s direction was neat and flowed nicely, and he certainly lived up to his ambition of wanting to make theatre fun.

That said, there were moments in the drama that lacked significant tension that the design and performances couldn’t disguise. The play started off with a lot of promise but it took too long to progress the narrative. The mix of horror and comedy felt natural to the piece, but the first act slowed in certain places and while the second act redeemed it, picking up the pace, the repetitive structure seemed to stunt its potential rather than push it further. While some jokes sparked, other felt laboured and I felt restless rewatching certain pieces of dialogue over and over. Despite that, the stakes were definitely raised in the second act, and they became higher and higher culminating in a fun and bizarre conclusion that definitely ends the show on the high.

Having not seen the original film, I was worried that some references would go right over my head, and perhaps that’s why I struggled to connect the whole time. I could tell some people responded well to the play and I have no doubt that those on stage had a really fun evening out because it does provide a unique theatrical experience. However, sat in the stalls I sometimes felt like there was a private joke I was missing out on. I’m sure fans of the film will have a great time, but despite its style and energy, I have to admit I was left a little confused and alienated by the whole thing.

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

★★★★

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

NAPOLEON: UN PETIT PANTOMIME at Jermyn Street Theatre

Reviewed on 26th November 2024

by Stephanie Christodoulidou

Photography by Alex Brenner

Previously reviewed at this venue:

NAPOLEON: UN PETIT PANTOMIME

NAPOLEON: UN PETIT PANTOMIME

Pleasance Theatre

Reviewed – 16th April 2019

★★★

“full of unique and inventive ideas that create an air of originality to the play”

Reviewed by Tobias Graham

Photography by Claire Bilyard

Night of the Living Dead Live!

Pleasance Theatre until 19th May

Last ten shows reviewed at this venue: