Tag Archives: Macadie Amoroso

THE COMEDY ABOUT SPIES

★★★★

Noël Coward Theatre

THE COMEDY ABOUT SPIES

Noël Coward Theatre

★★★★

“another all-conquering crowd-pleasing triumph”

There’s a reliable joy to a Mischief Company production – a blend of manic precision, cheerful chaos, and the comforting sense that, whatever happens – or doesn’t – you’re in safe hands.

The writing team of Henry Lewis and Henry Shields has formulated a winning blend of mayhem and mirth that has occupied vast swathes of theatre land, with audiences mobbing the box office for a slice of guaranteed hilarity.

With The Comedy About Spies, Mischief once again delivers what it does best: tightly choreographed anarchy, misunderstandings, impeccable farce and groaning puns, this time with a generous helping of 1960s glamour and Bond pastiche.

Under Matt DiCarlo’s direction, confusion begins from the off with agents given letters as names, “Not U – you” “Oh,” says U. “Yes?” says O. Etc.

This code-naming is done “for ease”.

Four Es appear.

Of course they do.

And that’s in the first five minutes.

Where earlier hits mined mishap from amateur dramatics (The Play That Goes Wrong) and pantomime mayhem (Peter Pan Goes Wrong), Spies takes aim at glamorous Cold War espionage thrillers – Bond, Le Carré, and every trench coat cliché in between. The result is another all-conquering crowd-pleasing triumph at a quick-fire pace with an ensemble cast as well drilled as a North Sea oil field.

It’s London 1961. A rogue British agent has stolen plans for a top-secret weapon, setting CIA and KGB agents on a collision course in the faded grandeur of London’s Piccadilly Hotel. Throw in an aspiring actor who thinks he’s auditioning for Bond, a pair of lovers in a relationship crisis, and more double-crosses than a spoiled ballot, and you’ve got a narrative that delights in the possibilities of confusion.

What sets Mischief apart is not just the slapstick but the ensemble’s uncanny ability to make bedlam look effortless. Every tumble, double take and mistaken identity is underpinned by clinical comic timing. For example, a two-up, two-down doll’s house cross section of hotel rooms is a blizzard of multi-dimensional farce which reaches a point of near-hysteria.

The production zips along, bolstered by David Farley’s gorgeous set designs that nod to ’60s spy kitsch – Soho neon, art deco lobbies and moving stage conveyors that give chases the feel of a Pink Panther title sequence.

The Comedy About Spies shows a company still hungry to explore the possibilities of their niche. The pleasure lies not in whether the mission succeeds but in watching it unravel with unashamed silliness.

“Vodka Martini?”
“Yes.”
“Shaken?”
“Yes, but I’ll be fine.”

Groan.

“Have you seen Rosemary?”
“The woman or the herb?”

It just never stops.

The Comedy About Spies delivers laughs. That is what it is designed to do and exactly what it does. It’s as a simple – and as devilishly complicated – as that.



THE COMEDY ABOUT SPIES

Noël Coward Theatre

Reviewed on 13th May 2025

by Giles Broadbent

Photography by Mark Senior

 

 

 

Previously reviewed at this venue:

DR STRANGELOVE | ★★★½ | October 2024
THE MOTIVE AND THE CUE | ★★★★★ | December 2023
THE OCEAN AT THE END OF THE LANE | ★★★★★ | October 2023
THE GREAT BRITISH BAKE OFF MUSICAL | ★★★ | March 2023

 

 

THE COMEDY ABOUT SPIES

THE COMEDY ABOUT SPIES

THE COMEDY ABOUT SPIES

TESS

★★★★

UK Tour

TESS

New Theatre Royal, Portsmouth

★★★★

“The direction is expertly crafted, ensuring that every movement and physical interaction serves a purpose”

Ockham’s Razor has achieved something extraordinary with Tess, a bold and breath-taking adaptation of Thomas Hardy’s Tess of the D’Urbervilles that fuses theatre, movement, and contemporary circus to re-imagine Hardy’s 1891 tragic novel. Through inventive staging and visceral physicality, the company distils this tale of endurance, injustice, and resilience into something immediate and deeply affecting.

The story follows Tess Durbeyfield, a young woman from a poor rural family who is sent to seek kinship with the wealthy D’Urbervilles after her father learns of their supposed aristocratic lineage. There, she falls prey to the manipulative Alec D’Urberville, an event that alters her life forever. Seeking a fresh start, she later finds love with the idealistic Angel Clare, but when he learns of her past, his rejection leaves her struggling to survive in a world that offers her little compassion. As Tess fights against the rigid moral codes of Victorian society, she finds herself once more in Alec’s grasp, leading to a final desperate act that seals her fate.

The striking set design of shifting wooden planks, towering walls, and billowing linen is integral to the storytelling, creating a constantly evolving landscape that mirrors Tess’s emotional and physical journey. The performers interact seamlessly with their surroundings, swinging, climbing, and manipulating the set with an urgency that reflects her struggles. Production designer Tina Bicât keeps the staging simple yet evocative, while Aideen Malone’s lighting and Daniel Denton’s projections shift fluidly to enhance the ever-changing atmosphere.

The cast of seven deliver extraordinary performances, both physically and emotionally. Tess is portrayed by two performers: Lila Naruse, who serves as the narrator, recounting her story with a soft West Country lilt while slipping in and out of dialogue, and Anna Crichlow, who embodies Tess’s physical journey through movement, expressing her emotions with acrobatics and dance. Their dual performance is quietly powerful with one Tess speaking, while the other relives events with no ability to change them. A particularly moving moment comes when one Tess reaches out to hold the other’s hand in silent support, reinforcing the sense of inevitability that haunts her story.

The predatory Alec D’Urberville is played with an unsettling charisma by Joshua Frazer, while Angel Clare is brought to life with both idealism and naivety by Nat Whittingham, making his betrayal all the more painful. Both actors also take on ensemble roles, and particularly in Frazer’s case, it is striking to see how posture, movement, and a quick costume change transform him from one of Tess’s mischievous younger siblings into a predatory seducer.

Lauren Jamieson, Victoria Skillen, and Leah Wallings play multiple roles throughout, from the romping Durbeyfield children to barroom brawlers, but particularly shine in two comedic sequences as the trio of dairymaids vying for Angel’s attention.

The adaptation, by directors Alex Harvey and Charlotte Mooney, streamlines the novel’s plot while maintaining its emotional depth. Tess’s journey is strikingly depicted, for instance, her initial trip to the D’Urbervilles sees her navigating an intricate sequence of angled planks, with projected mountain ranges behind her emphasising the sheer scale of her world. This is later mirrored when she flees from Alec, retracing her route backwards, a breathtakingly choreographed sequence performed in reverse that heightens the sense of her desperation.

One of the production’s most visually powerful moments comes during Alec’s seduction of Tess, represented through a Cyr wheel routine. What starts as a peacocking display of skill becomes something darker as Alec lures Tess into his orbit, quite literally drawing her into his circle, trapping her. Their final encounter, which drives Tess to flee, is almost unseen, shrouded in darkness and accompanied by an unsettling soundscape. With one Tess watching helplessly as events unfold, reinforcing how ingeniously this dual portrayal captures the inevitability of her fate.

The direction is expertly crafted, ensuring that every movement and physical interaction serves a purpose. The integration of circus arts is not just for spectacle but a vital storytelling tool, making Tess’s struggles feel immediate and visceral. The music and sound design by Holly Khan further heighten the drama, weaving folk-inspired melodies with an atmospheric score that underscores Tess’s emotional journey. The costumes, designed by Bicât, balance historical authenticity with functionality, allowing the performers full range of movement while remaining firmly rooted in Hardy’s world.

This production masterfully transforms Hardy’s prose into something immediate and deeply affecting, distilling its themes of power, privilege, consent, and female agency (or lack thereof) in a way that still resonates today. Through bold direction, inventive staging, and an emotionally rich interpretation, Tess proves that even the darkest of literary classics can be re-imagined with breath-taking vitality.



TESS

New Theatre Royal, Portsmouth then UK Tour continues

Reviewed on 25th February 2025

by Ellen Cheshire

Photography by Kie Cummings

 

 

 

 

Previously reviewed at this venue:

BEAUTY AND THE BEAST | ★★★★ | December 2024

 

Tess

Tess

Tess