The plot is too much of a tangled shaggy-dog story to summarise sensibly, but it begins with an illicit tryst between dental hygienist Angela (Jennifer Matter) and lawyer Giles (Richard Earl). It certainly grabbed everyone’s attention when, in the opening seconds, Angela removed her coat and dress to reveal a skimpy Ann Summers outfit. But the couple’s anticipated pleasure is endlessly delayed by a chain of unexpected visitors.
In keeping with the style of a typical farce, bad luck, coincidence, misunderstandings and mistaken identity drive a sequence of increasingly absurd and improbable events. The comedy comes from the thickening web of inexplicable statements and actions that only the audience can understand. Jennifer Selway’s exceedingly clever writing is maximised by a cast able to expertly tease out every laugh possible from each other’s escalating misfortunes.
It’s very much a London show, with an obvious fondness for the city demonstrated by references to its locations, landmarks and public transport. There’s a fair amount of satire, too, with nods to gender politics, greedy estate agents, social media and what it means to be rich or poor in a bitterly divided Britain. While the Brexit theme is a subtle one, it’s nevertheless an important thread running through the narrative.
Timing all those entrances and exits so perfectly can’t have been easy, but the coordination of this complicated, often highly physical comedy is superbly managed by director John Plews and the entire Ovation company. And the ingenious, economical set design by Emily Bestow made it possible for the various comings and goings within the flat to interact seamlessly as doors opened and closed and windows were hastily clambered in and out of.
The way the various loose ends are resolved at the end makes for a hugely satisfying conclusion to a play that balances hilarity with a sophisticated look at the way we live.
ORIGINALLY REVIEWED FOR THE SPY IN THE STALLS.