4’S A CROWD
Hope Theatre
★★★★
“punchy and parodic, mixing zany physical theatre with deadpan one-liners”
A nuclear bunker’s safe in an apocalypse, right? Right?! Not according to ‘4’s A Crowd (Or What Not to Do When Stuck in a Bunker During the Apocalypse)’, a fast-paced, farcical post-apocalyptic frolic where the only survivors are rich prats and a geezer named Phil. And someone already ate all the Wotsits.
Nuclear war hails the end of the world. Luckily, emergency bunkers have been built for the rich and famous – oh and Phil, a football loving, beer swigging bloke who wins a free ticket to salvation. As the ‘guests’ arrive, Gareth the grown-up boy scout and bunker master settles everyone in while they await transfer to a long-term facility. Only, there are five people in the bunker instead of four and two of them are called Rachel. Will the interloper be exposed? Will all five survive? Will they even want to?! Maybe there are worse things than Armageddon!
‘4’s A Crowd’ is the aptly named Fiascoholics’ (Max Burton, Tomi Fry, Todd Bell) debut play, transferring to London after a successful Edinburgh Fringe 2025 run. The tight, sharp script is stuffed with jokes, jabbing at elitism, classism, lad culture and anything else its permanent marker of power can get near (including “NHS workers, children and other minorities”). The five outrageous characters lend their own farcical flavours, mixing snobbery, slapstick, blokeish banter and punchy (literally) humour. The first half is well structured, setting up the daft dystopia and building suspense when they realise there’s an intruder. While the subsequent trials, reveal and squabbling succeed in spiralling into anarchy, the tragic ending gets a little lost in the froth, falling shy of the gut-punch it’s going for. Still, the Fiascoholics should be commended for such a smart iteration of a debut show.
Sam Smithson’s direction is punchy and parodic, mixing zany physical theatre with deadpan one-liners. The pacing propels you forward, almost never missing a beat (apart from the few times when lines and laughter overlap). There is a deft mix of machine gun-like dialogue and dance-like physical scenes, with the extended fight scene a particular highlight. Impressively well-drilled, cast and tech operate in seamless harmony.
The set design delivers a cheerfully dystopian tone, demarcated by biohazard tape and completed by a welcome banner with the words ‘baby girl’ crossed out. Sas Hughes’ lighting and sound blend perfectly with the action, bursting to life as each guest appears and turning the extended fight scene into a visual spectacle. The costumes, hair and make-up emphasise the characters’ differences, especially Phil who rocks up in an England football shirt even though the team’s probably all dead.
The cast sets a high bar for farce, exercising precision and control and avoiding complete chaos. Max Burton’s Gareth adds an especially Fawlty flavour, tearing around and bursting into tears before dropping stark one-liners and making a heart-wrenching decision. Burton fully embodies each moment and you end up really feeling for this quirky happy camper. Lotte Pearl’s Rach drips decadent disdain, sparring with Lucie Cooper’s loutish Rachel, who gobbles Wotsits – sorry, crisps – by the handful and threatens to befoul Gareth’s precious clipboard. Barnaby Evans’ Phil is a treat, switching between swagger and sensitivity and revealing a side we almost don’t expect. Todd Bell’s Henry offers more contrast, foppishly failing to win anyone over before revealing a dark secret.
‘4’s A Crowd’ is fiery and fleet, making me belly laugh even though I’m not the biggest fan of farce. The excellent delivery and slick writing put the ‘oo’ in doomsday, even if the climax isn’t a sonic boom. Who knew the apocalypse could be so fun?
4’S A CROWD
Hope Theatre
Reviewed on 1st October 2025
by Hannah Bothelton
Photography by Anna Clare Photography
Previously reviewed at this venue:
FICKLE EULOGY | ★★★ | August 2025
855-FOR-TRUTH | ★★★ | February 2025
ROSIE’S BRAIN | ★★★★ | February 2025
PORT CITY SIGNATURE | ★★★½ | October 2024
THE LEAST WE COULD DO | ★★★★★ | October 2023
MIND FULL | ★★★ | March 2023
HEN | ★★★ | June 2022
100 PAINTINGS | ★★ | May 2022
