Tag Archives: Rah Petherbridge

Sh!t-Faced Showtime: A Pissedmas Carol

★★★★★

Leicester Square Theatre

A Pissedmas Carol

Sh!t-Faced Showtime: A Pissedmas Carol

Leicester Square Theatre

Reviewed – 28th November 2019

★★★★★

 

“bountiful instances of quick-witted, gleeful silliness”

 

Audiences are a voyeuristic bunch – from found-footage horror films to The Play That Goes Wrong, there is a proven appetite for watching things where what’s being shown feels like it shouldn’t be seen. So it’s no surprise that Magnificent Bastard Productions have struck gold with their format in which they get one of their actors drunk and have to roll with whatever punches they throw during the show. They’ve found success with both Sh*t-Faced Shakespeare and Sh*t-Faced Showtime previously, and that can now be counted as a triumvirate of triumphs with their new festive show, A Pissedmas Carol.

A Pissedmas Carol follows the plot of Charles Dickens’ classic A Christmas Carol with a cast of five and a script by Lewis Ironside. Or it intends to follow the plot, anyway, although the actor who’d got through two beers, a shot of vegan Baileys, and two thirds of a bottle of Captain Morgans over the course of four hours preceding the show lobbed most of the script out the window. The rules set out by the show’s MC (who incidentally, was Charles Dickens – played with adorable joviality by Will Seaward) dictate that whatever that actor chooses to do, the others must improvise around it. With a group of exceptional improvisers such as this, such a format leads to boundless hilarity. Once this performance’s drunk actor Daniel Quirke chooses to lick a castmate’s nose as a greeting, it becomes a running gag throughout the show, and when Quirke changes the ending of the story on the fly by putting Scrooge in a coma for forty years, the change is embraced fully by the other actors. The fundamental rule of improv – always say yes – is taken very seriously, which results in bountiful instances of quick-witted, gleeful silliness.

The improv and alcohol-heavy nature of the show could very easily lead to wearisome indulgence in the performances, but thankfully there is a keen awareness from the cast, as well as clear measures to ensure the experience is always firmly centred around audience enjoyment – the MC will sometimes usher things along, or Charlotte Brooke’s piano accompaniment will lead the scenes forward. The audience are also invited to deepen the chaos, as select members are able to put another drink in the inebriated actor’s hand when they so wish. By the end of the show, Quirke had got through a further three beers, which kept the voyeuristic excitement ramping up.

As mentioned, the performances are roundly excellent, and the fun that these actors are clearly having on stage with each other permeates through to the audience. They capitalise on every unexpected comic opportunity, with James Murfitt as Scrooge and Katy Baker (who also directed) as the Ghost of Christmas Past standing out in a scene where – thanks to Quirke’s machinations – their rendition of ‘Walking in the Air’ as they flew to the past brought on reams of laughter. That’s not the only song either – A Pissedmas Carol features a host of Christmas classics, all fantastically sung, from Issy Wroe-Wright’s scene-stealing ‘Last Christmas’ to the gorgeous harmonies in ‘Fairytale of New York’.

A Pissedmas Carol has carved out a format that sets it apart from any other Christmas show, yet also puts it head and shoulders above them. Forget panto – this is the most fun you’re going to have in a theatre this festive season.

 

Reviewed by Ethan Doyle

Photography by Rah Petherbridge

 


Sh!t-Faced Showtime: A Pissedmas Carol

Leicester Square Theatre until 5th January

 

Previously reviewed at this venue:
Murder, She Didn’t Write | ★★★ | February 2018
Sh!t-faced Shakespeare: The Merchant of Venice | ★★★★ | April 2018
Sh!t-faced Shakespeare’s Romeo and Juliet | ★★★★ | June 2018
Murder She Didn’t Write | ★★★★ | September 2018
Sh!t-faced Showtime: Oliver With a Twist! | ★★★ | September 2018
Stick Man | ★★★½ | October 2018
Sh!t-Faced Showtime: Oliver With A Twist | ★★ | March 2019
Sh!t-Faced Shakespeare: The Taming Of The Shrew | ★★★★★ | April 2019
Sh!t-Faced Shakespeare: Hamlet | ★★★ | June 2019

 

Click here to see our most recent reviews

 

Red Palace

★★★½

The Vaults

Red Palace

Red Palace

The Vaults

Reviewed – 2nd October 2019

★★★½

 

“All the necessary components are there … I could just do with a little more amazement and a little less explanation”

 

Shotgun Carousel’s reputation for outlandish and stunningly executed immersive events far precedes their current show, Red Palace. After last year’s outrageously decadent Divine Proportions, I was fully prepared for an evening of hedonistic debauchery, expertly implemented to lavish excess.

he concept (Laura Drake Chambers) is strong from the start, and all-encompassing: There is a prophesy known across the land that after a thousand days on the throne, the tyrant prince will come to a bloody end. But the prince has no intention of giving up his rule and instead he’s throwing a party on the very day this prophecy should come to pass. Dress code is “your best ball attire and a mask to match” ( don’t worry, you can borrow a mask at the box office). It really is very effective to walk in to a dimly lit room full of masked faces, even if you know most of those are your fellow audience members.

For those who decide to indulge, dinner is served before the main event in a gallery overlooking the hoi polloi. MasterChef semi-finalist Annie McKenzie has whipped up a true feast – I’ll be thinking about that sticky honey soda bread with whipped rosemary butter for days to come, and I only wish I’d snuck in some tupperware for a little more of that rich, crispy shallot tarte tatin.

Performances are promised throughout dinner, but instead we’re occasionally introduced to a character from the main show’s narrative who we’ll no doubt encounter again later in the evening. This is a little disappointing: A performance suggests something of a spectacle and instead we have a preview of a show we’re already signed up to see. The cast themselves are magnificently adorned (Maeve Black) in gothic glamour, and they each play their parts with impressive commitment, even when hassled by substandard audience banter.

The show itself, directed by Celine Lowenthal, takes over the majority of The Vaults, sending the audience sprawling across various nooks and crannies throughout the venue. Initially there’s a sense that we might wander casually from room to room, making discoveries for ourselves, but after the first, we’re shepherded from one spot to the other to observe various necessary parts of the evening’s main plot.

The aesthetics don’t disappoint. Every space has been lovingly crafted to create vastly different atmospheres in each: Snow (White), styled as Barbie Madonna, is throwing a very sad birthday party in her sickly pink boudoir; Gretel (of the famous brother and sister duo) hosts an illegal cabaret with bathtub gin to boot; Red (Riding Hood) hides in the dark, dank forest, plotting her revenge against the prince. But concepts aren’t quite taken to their fabulous potential so within reach. Instead there’s a slight amateur fiddliness to it all, causing a lag between the evening’s tent-pole performances, and slightly sapping the fun out of it as the audience shuffles from one room to the next.

All the necessary components are there: stunning designs, exquisite food, engrossing performances and a well thought out concept. I could just do with a little more amazement and a little less explanation. No need to continuously force feed us the plot, we just want to have a radically decadent unicorn of an evening. Whilst for most that would be too much to ask, it’s what we’ve come to expect from Shotgun Carousel, and on this occasion they’ve just missed the mark.

 

Reviewed by Miriam Sallon

Photography by Nic Kane

 


Red Palace

The Vaults until 12th January 2020

 

Last ten shows reviewed at this venue:
Donal The Numb | ★★★★ | March 2019
Essex Girl | ★★★★ | March 2019
Feed | ★★★★ | March 2019
How Eva Von Schnippisch Won WWII | ★★★★ | March 2019
The Talented Mr Ripley | ★★★★ | March 2019
Vulvarine | ★★★★★ | March 2019
Bare: A Pop Opera | ★★★ | June 2019
Black Is The Color Of My Voice | ★★★★ | June 2019
Me and my Whale | ★★★ | June 2019
The Falcon’s Malteser | ★★★★★ | July 2019

 

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