Tag Archives: X25

SH!T-FACED SHOWTIME: A PISSEDMAS CAROL

★★★★

Leicester Square Theatre

SH!T-FACED SHOWTIME: A PISSEDMAS CAROL

Leicester Square Theatre

★★★★

“chaotic and gloriously daft”

If there was a drunk actor on the stage in any other production, it would be an ugly cautionary tale about the perils of fame. But in A Pissedmas Carol, it’s contractually obligated. Sh!t-faced Showtime bring us the classic tale of miserable Scrooge’s redemption forced by paranormal visitors on Christmas Eve, spiced up with the addition of copious amounts of alcohol. It’s just one actor in the cast who gets inebriated, leaving the rest to respond to the chaos and push the drunkard onto his marks, with predictably hilarious results. In our case, it was Ashley Gerlach as Scrooge, who complained about how loud the singing was, squared up to Bob Cratchit and asked where the mandem was when he arrived at his old school.

Written by Lewis Ironside and adapted for the stage by James Murfitt, this production holds firmly to the pillars of Dickens’ tale. The key characters are all here, and chunks of the original script are attempted, with obvious interruptions and digressions from our tipsy player. Lucy Fowler’s costuming is committed to the original era, with the women donning bonnets and the men waistcoats, all of which only serves to make the bumbling Scrooge’s antics and confusion funnier. When he suddenly complains that his Victorian nightgown doesn’t have pockets, it triggers a hilarious argument as others beg him to please just act like there are. The ghost of Jacob Marley is adorned with the expected shackles and chains, but still poked fun at by way of the two poorly disguised actors draped in black whose job it is to wave the chains spookily in the air behind him.

The Victorian story and setting are hit with all the non-negotiable decorations of festive theatre. There’s audience interaction – one attendee has to ring a set of bells if they feel the actor needs another drink, and another gets a sick bucket. There’s bawdy humour and innuendos, but it stays the right side of eye-roll-inducing. And of course, there are copious Christmas songs. It’s all very silly and the atmosphere is generously lively. There are a few lazier parts which rely on pantomime tropes, which just don’t feel necessary when the cast is as charming and competent as they are. The show really can be bothered, so it leaves the drunk actor free to just be funny and curious and incendiary. Even the lighting and Nicola Jones’ set design says: this is a real show with budget! Get drunk with us!

The only reason watching a drunk actor can be this funny though, is if they are propped up by a genuinely talented and quick-witted cast, directed by Katy Baker. There are solid comic performances from Hal Hillman and Daniel Quirke, with Daniel in particular getting huge laughs in solo scenes as Mrs. Fezziwig and the child who picks Scrooge’s turkey. Musical director Charlotte Brooke holds everything down on the piano at the back of the stage, constantly adapting to soundtrack the show as it stumbles about, so that the audience really can just sit back and enjoy the chaos. Vocals are largely led by Issy Wroe Wright and Alice Merivale, who flip from ghostly operatic lullabies to the Wham! crooner with impressive range. The whole debacle is kept in check by a sequin-suited Dickens who acts as a ringmaster when things get really off the rails.

If you’ve never heard of A Christmas Carol, this would be a truly terrible way to introduce yourself to Dickens’ genuinely moving story of redemption and community. But if, like me, you’ve seen a thousand iterations of the story, and can sing all the ensemble parts in the Muppet version, then this might be the only production that holds something new for you. It’s chaotic and gloriously daft – you’ll be laughing about it long after last orders.



SH!T-FACED SHOWTIME: A PISSEDMAS CAROL

Leicester Square Theatre

Reviewed on 11th December 2025

by Jessica Hayes

Photography by Andrew AB Photography


 

Previously reviewed at this venue:

SH!T-FACED A MIDSUMMER NIGHT’S DREAM | ★★★★ | July 2024
RACHEL PARRIS: POISE | ★★★★ | June 2024
SH!T-FACED SHOWTIME: A PISSEDMAS CAROL | ★★★★★ | November 2023
THE AYES HAVE IT! THE AYES HAVE IT! | ★★★★ | November 2023
SH!T-FACED SHAKESPEARE®: MUCH ADO ABOUT NOTHING | ★★★★★ | July 2023
SHIT-FACED SHAKESPEARE: ROMEO & JULIET | ★★★★ | July 2022
A PISSEDMAS CAROL | ★★★★★ | December 2021
SH!T-FACED MACBETH | ★★★★★ | July 2021

 

 

SH!T-FACED SHOWTIME

SH!T-FACED SHOWTIME

SH!T-FACED SHOWTIME

THE MYSTERY OF IRMA VEP – A PENNY DREADFUL

★★★★

Jack Studio Theatre

THE MYSTERY OF IRMA VEP – A PENNY DREADFUL

Jack Studio Theatre

★★★★

“joyfully madcap, full of twists, improbable developments, romance, and ghosts”

Packed with dead wives, werewolves, mummies, bleeding portraits, and more gothic cliches than the Monster Mash, The Mystery of Irma Vep is a hilarious and enthralling farce, brought wonderfully to life by the multi-rolling duo of Joe Newton and James Keningale. This revival of Charles Ludlam’s 1984 satire is a hit for Jack Studio Theatre’s Christmas production.

Drawing from Alfred Hitchcock’s Rebecca, the play relates the story of Egyptologist Lord Edgar Hill Crest (Newton) and his second wife Lady Enid (Keningale), living amongst the moors in Mandacrest, Edgar’s ancestral home, they embark on their new married life, haunted by the memory of Edgar’s first wife Lady Irma, whose portrait hangs above the fire. The couple are isolated except for supercilious and jealous housekeeper Jane Twisden (also Newton) and manservant Nicodemus Underwood (also Keningale), whose lovelorn, half-ignored proclamations are a highlight. As is the dialogue generally, much of which references gothic precursors including Shakespeare’s ghosts and Edgar Alan Poe’s Raven. The play lives up to its subtitle, ‘A Penny Dreadful’. Without wanting to give too much away, the narrative is joyfully madcap, full of twists, improbable developments, romance, and ghosts, while never missing an opportunity for an intentionally groan-inducing bad joke: ‘it’s a terrible thing to marry an Egyptologist and find out he’s hung up on his mummy’.

The chemistry between the performers sparks as they play the parts of rivals, lovers, or co-workers, and the quick costume changes between characters, especially towards the play’s climax, elicit an uproarious response from the audience. The impossibility of certain characters sharing the stage is played both for laughs and dramatic tension, and the bond felt between Enid and Nicodemus (both Keningale), which can never be realised on stage, irreverently explores the mystery of human connection. Kate Bannister’s direction encourages the performers’ physical acting to flourish, weaving in the stylistic hallmarks of silent movies and gothic horror, from the exaggerated gestures of Lady Enid as she circles the stage, to the contorted skulking of monsters lifted straight from Nosferatu (1922), which is especially satisfying. Lady Enid’s insulted half-turn towards the audience with chin aloft, and Jane’s haughtiness and evasion of Nicodemus’ advances are also particularly enjoyable. The fight direction by Gabriele Lombardo is also strong, allowing character to shine through in the movement.

The set design by Karl Swinyard, assisted by Lizzie Spinks evokes the primness of a Victorian parlour, complete with chaise longue and dour portraiture. The projections that shift the action first to an Egypt then to a ship—yet another gothic motif—makes creative use of the tight space. The lighting design (Laurel Marks) is simple but effective, particularly the blue of streaming moonlight, and Julian Starr’s sound veers from the eerie to the macabre. Costume design (Martin J Robinson) combines both period dress and, out of necessity, quick changing, and is extremely successful in both, a standout is Lady Enid’s red dress, with which she attempts to enliven her relationship.

The Mystery of Irma Vep is a great option for a festive outing that blends the aesthetics of gothic horror with the camp sensibilities of pantomime and is catalysed by excellent performances and lively directing.



THE MYSTERY OF IRMA VEP – A PENNY DREADFUL

Jack Studio Theatre

Reviewed on 11th December 2025

by Rob Tomlinson

Photography by Davor at The Ocular Creative


 

Previously reviewed at this venue:

BIG CRANBERRY | ★★★★ | November 2025
VERA; OR, THE NIHILISTS | ★★★ | September 2025
HAVISHAM | ★★★ | March 2025
IN THE SHADOW OF HER MAJESTY | ★★★★★ | November 2024
CAN’T WAIT TO LEAVE | ★★★½ | November 2024
MARCELLA’S MINUTE TO MIDNIGHT | ★★ | September 2024

 

 

THE MYSTERY OF

THE MYSTERY OF

THE MYSTERY OF