★★★★

“a commanding, tightly meshed performance of real complexity”

‘The Comedy About Spies’ makes a triumphant return to the West End after its sold out Noël Coward run, armed with a WhatsOnStage Award and an Olivier nomination. This anticipated Adelphi run starts with a bang, and with original Mischief makers back in action, you’re in for a treat this summer.

London, 1961. MI6 has a mole. British, American and Russian agents descend upon the Picadilly Hotel to intercept a secret hand off and reclaim stolen plans for a deadly British weapon. But with mistaken identities, crossed wires and changing alliances at every turn, the mission is seconds from blowing up – come watch it to find out if they succeed!

Founding Mischief makers Henry Lewis and Henry Shields have outdone themselves, delivering a tight, punchy show absolutely packed with gags. The knowingly vague title – classic Mischief – signals exactly what this caper is: a tongue in cheek pastiche of the spy genre, with clever references and gloriously farcical British humour. Yet it feels fresh, revamping its cheeky ‘Fawlty Towers’ flavour for modern tastes, and cramming every conceivable comic style into a masterclass of silliness with apparent ‘ease’ (you had to be there). Most impressively, not a moment is wasted, with multiple seemingly throwaway lines returning with satisfying precision. My only slight critique is the balance between halves – Act 1 is so dizzyingly dense with jokes that Act 2’s more dramatic tone lands like they’ve eased up a touch. And despite waiting twenty minutes for the bag switch pay off, it ends with a well-deserved bang – overall, it’s expert, tightly crafted writing that deserves applause.

Matt DiCarlo’s direction and Shelley Maxwell’s movement direction pulls off this complex production with aplomb. It’s punchy, slick and full of razor-sharp timing. The pacing is spot on, knowing exactly when to crank the tension or up the ante in repetition driven set pieces. From physical gags, props, set changes, James Bond references and even a submarine, this show has it all. Though a play of this ilk isn’t aiming for emotional depth, a couple of characters do feel a touch one note – a hint more light and shade wouldn’t go amiss. Still, it’s direction with military precision – sharp, confident, and shaped for maximum comic impact.

Jon Fiber for JollyGoodTunes’ compositions cleverly distil 1960s spy movies, even sneaking in musical gags like Bernard’s walking bass. The sound design is sharp, packed with expertly timed effects and a crystal clear mix. David Farley’s set design smartly scales the sweep of a spy saga for the stage, jumping between locations with impressive speed thanks to the slick stage crew. Deborah Andrews’ costumes deftly balance Cold War austerity and flamboyant 1960s flair, splashed with bold primaries a playful Wes Anderson wink. Johanna Town’s lighting is gorgeous, blending narrative precision with lush ambient washes. The WHAM team distil the 1960s into wigs, hair and makeup with real finesse.

With so many original Mischief members returning, the show is in expert hands. Its tight ensemble work really shines: Bryony Corrigan, David Hearn, Adele James, Chris Leask, Henry Lewis, Henry Shields, Greg Tannahill and Nancy Zamit deliver a commanding, tightly meshed performance of real complexity, demonstrating expert comedy chops and filling the stage with their presence. A little more light and shade in a couple of characterisations would sweeten the mix – but then farce isn’t famous for emotional depth.

Make ‘The Comedy About Spies’ your top priority this summer. This gloriously British romp will have you laughing so hard you’ll blow your cover.

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.

Tag Archives: THE COMEDY ABOUT SPIES

THE COMEDY ABOUT SPIES

★★★★

Adelphi Theatre

THE COMEDY ABOUT SPIES

Adelphi Theatre

★★★★

“a commanding, tightly meshed performance of real complexity”