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Inside No.9: A Gruesome Comedy Celebration You Can’t Miss!

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Inside No.9: Stage/Fright (Wyndham’s Theatre, London)

Verdict: A party for themselves

Reece Shearsmith and Steve Pemberton, TV comedians in their fifties, are commemorating their thirtieth work anniversary, a remarkable milestone they’ve achieved together over three decades.

I can hardly contain my excitement as I find myself once again standing before the very stage where it all began for The League of Gentlemen, starring none other than Mark Gatiss! It seems they’re throwing a grand celebration of their achievements – a self-proclaimed “me party” if you will. Reminds me a bit of Amy Adams and Miss Piggy in The Muppets, basking in the limelight together. Simply thrilling to witness!

Rather than going out for meals, they are choosing to adapt the style of their BBC anthology series, Inside No. 9, to present a group of connected tales. These stories will blend elements of horror, humor, and ghostly encounters.

Situated both within and near the Wyndham’s Theatre, the performance initiates with an outstanding skit that humorously portrays theatergoers engaging in various vices such as snacking, talking, using mobile phones, and even video calling on laptops. In my experience, I’ve encountered all these scenarios.

After that, the story transforms into the account of the dismal comeback of the raunchy, faded comedy duo Len and Tommy, often referred to as Cheese and Crackers from the 1970s.

Or

From then on, we delve into the story about Len and Tommy (aka Cheese and Crackers), two comedians from the 1970s with a raunchy reputation, attempting a less-than-successful comeback.

However, the situation shifts once more, with them capturing a young celeb, Alexander Armstrong from Pointless, which happened earlier in the week, and then it calms down post-interval.

Hammer Horror spoof in which a young woman seeks minor surgery at a lunatic asylum.

The program often seems to be a collection of humorous leftovers, bloopers, and extra material from the comedians, entertaining both them and their passionate audience.

Following our principle for No.9, we should not only be prepared for the unforeseen, but also for the things that are quite predictable… hints and dark humor.

Additionally, they frequently change masks and wear various costumes and artificial limbs, even going so far as to amputate a limb themselves in a particularly gory scene featuring Shearsmith.

Both men have always struck me as being blessed with the aura of slightly sleazy uncles. 

This season showcases an enhanced stage presence that greatly impacts us, often causing unease. However, their chemistry suggests a growing ambition towards the iconic duo format, subtly reminiscent of Morecambe (Pemberton) and Wise (Shearsmith).

Despite their tendency to play tricks on us by misleading our expectations as well as unexpectedly changing the situation, it can get quite tiresome.

OR

It’s a bit draining when they keep deceiving us by twisting the truth and altering situations without warning.

OR

Their habit of deceiving us and constantly changing the game wears me out over time.

OR

I find it tiresome when they not only lie to us, but also change things in ways we weren’t expecting.

Picking one: “It can get quite tiresome when they keep deceiving us and constantly changing the game.

Regardless, there’s a praiseworthy chaotic aspect to their theatrical upheaval, and Director Simon Evans effectively manages this unruly locomotive – particularly with the complex layers of reality presented within the asylum sequences.

Or simply:

Despite some disorganized aspects, their theatrical rebellion is worthy of praise, and Director Simon Evans skillfully maintains control – most notably in managing the intricate realities presented during the asylum scenes.

It’s not just a tribute to Pemberton and Shearsmith; there are outstanding performances too. For instance, Anna Francolini plays a witty nurse in the asylum, while Miranda Hennessy portrays a former pop star-turned-actress, which could be seen as a nod (or perhaps a jab) at Lily Allen.

Enthusiasts will appreciate the collection of self-centered inside jokes in this unexpected tribute, which seems premature.

Even if the rest of us might find it entertaining, it’s not entirely disappointing that the show appears to be almost completely booked.

Or simply:

The show being sold out can’t really disappoint us, even though we may enjoy it.

Until April 5.

 

Johnny Depp classic’s gone for a Burton

Scissorhandz (Southwark Playhouse, London)

Verdict: Lacks cutting edge 

Scissorhandz is an American musical homage to Tim Burton he may well prefer to forget. 

The film is a remake of Edward Scissorhands, starring Johnny Depp in 1990, directed by Tim Burton. In a surprising twist, they have added a ‘z’ to the title and transformed Burton’s story about an unusual outcast with scissors for hands into a joyful, ordinary endorsement of diverse sexual identities.

According to the style of Mary Shelley’s Frankenstein, our gender-neutral protagonist seeks to understand their purpose directly from their creator-mother.

She clarifies, “You come not from God, but from love,” yet her words fail to alleviate the confusion in her creation regarding humanity’s tendency towards tribalism.

But although the show is earnest, it’s mostly a loud celebration of sectarian interest.

The music features a blend of repurposed pop and rock tunes, spanning from Chaka Khan’s I’m Every Woman to American Authors’ Best Day Of My Life, culminating in a nearly eerie adaptation of Radiohead’s Creep.

OR

The tunes are a mix of revamped pop and rock hits, including tracks like Chaka Khan’s I’m Every Woman and American Authors’ Best Day Of My Life, with the grand finale being a hauntingly beautiful rendition of Radiohead’s Creep.

Despite the singing being somewhat inconsistent, Emma Williams particularly shines when portraying Scissorhandz’s adoptive mother, Peg, who also happens to be an Avon Lady, showcasing her yodeling skills with great vigor.

Otherwise, a kitsch, happy-clappy mood glosses variable vocal standards. 

Simultaneously, the limited space on the stage, surrounded tightly, restricts Bradley Bredeweg’s dreams of creating a rock musical.

In a cramped area before a tower of amplifiers, the dance is constantly at risk of becoming a human traffic jam.

In a repeat of his performance from the initial Las Vegas show, Jordan Kai Burnett portrays Scissorhandz with remarkable skill, trimming shrubbery as well as styling both the upper and lower regions of women’s hair.

Instead, Burnett seems aimless, wandering the stage with pale makeup and gothic attire if no clear purpose or direction is given.

If there’s no defined purpose, Burnett appears to wander aimlessly about the stage with a ghostly pallor and gothic clothing on.

Despite making adjustments to reflect themes of social justice, the outcome remains transforming the narrative into what it essentially embodies – a classic Hollywood story of an underdog’s victory.

Until March 29.

 

A jazzed-up Shakespeare set in smokin’ 1940s Harlem

Play On! (Bristol Old Vic, then Lyric Hammersmith) 

Verdict: The Bard sings the blues 

West Side Story reimagines Shakespeare’s Romeo and Juliet, with a modern twist by Bernstein and Sondheim, while Kiss Me, Kate transforms the Bard’s chilly, spiteful play The Taming of the Shrew into a lively production by Cole Porter.

West Side Story is a fresh take on Romeo & Juliet, created by Bernstein and Sondheim, while Kiss Me, Kate turns The Taming of the Shrew from cold and hateful to energetic due to Cole Porter’s work.

regretfully, Keep Going! Sheldon Epps’s interpretation of Twelfth Night, set to Duke Ellington’s melody, doesn’t quite capture the original rhythm.

The title of the play is derived from its opening line, and perhaps Ellington’s “It’s Not the Way You Look (It’s Not What You Do)” would be a more fitting alternative.

While the Duke’s captivating blues echo the motif of unreturned affection, Cheryl L. West’s work, along with its underdeveloped personalities and minimal romantic tension, fail to convey much of the poignant bittersweetness inherent in this complex tale of love gone awry.

Not a problem. Michael Buffong’s juke-box musical presentation serves as a compelling demonstration that music indeed nourishes love, as suggested in the unsaid portion of that well-known opening line: “Music is the food of love.

In the 1940s, the story moved to Harlem, as portrayed through a hazy bar setting designed by Ultz and worn-out costumes. The narrative often humorously twists and turns with Shakespearean themes of disguise and self-identity.

Instead of being a titled aristocrat, this Duke is actually the most renowned bandleader in Harlem. After a disagreement with Liv, the sultry nightclub diva, he has unfortunately lost both his creative inspiration (muse) and his charisma (mojo).

Enter aspirant composer, Viola, who discovers that writing songs is for men only. 

In the role of well-dressed, smartly attired Vyman, he convinces a heartbroken Duke, Earl Gregory (Struggling with a Bad Love Situation), that his captivating tunes can win Liv’s affection once more.

After that, the melody dominates. Koko Alexander, with her sparkling performance of Liv, delivers an electrifying rendition of Mood Indigo.

In a lively reinterpretation, Cameron Bernard Jones portrays the stiff character of Malvolio, who is deceived into improving his attire and walks with less pomp in a vividly bright yellow zoot suit.

Above everything else, Lifford Shillingford and Llewellyn Jamal create an explosive performance in “Rocks In My Bed”, culminating in a fresh, enchanting conclusion to the story.

Ellington not Shakespeare, but irresistibly enjoyable.

Until February 22.

 

Toilet humour saved by a classic comic formula

The Gift (Park Theatre, London)

Verdict: Potty men

If you were to find a package containing feces delivered to you, what would be your response? This is the rather unpleasant scenario presented in Dave Florez’s comedy series centered around a middle-aged, neurotic bachelor named Colin.

The questioned stool has been delivered to his home in North London, enclosed within an upscale pastry box. It’s causing concern for him, along with his sister Lisa and her partner Brian, as they examine it closely.

As a diligent follower, I found it hard to accept that the questionable article was left out in the open on the kitchen counter, not just anywhere but under the supposed protection of cling film.

That though is what we must accept as the trio attempt to apportion motive and blame. 

As a devoted admirer, I must admit that this setup, while serving as a platform for juvenile jokes and excessive use of strong language, subtly incorporates the philosophical ideas of Friedrich Nietzsche to add depth and complexity.

You might be curious about what makes this interesting? After a series of low-brow jokes throughout the first part, Florez manages to create slightly chaotic humor directed by Adam Meggido in a production that takes place on an IKEA demonstration kitchen set during a more cohesively structured second half.

Fundamentally, it adheres to a well-established, albeit non-clichéd, comedic structure featuring bumbling men competing for the favor of an attractive, young female character – regardless of her being a sister to one.

Alex Price embodies a somewhat stereotypical, albeit not excessively crass, character hailing from Essex. His habit of grabbing drinks from the refrigerator without extending an offer to others is a behavior that seems to be common among his peers as well.

Laura Haddock expresses a range of emotions with her wide-set eyes, offering comfort, contempt, and sighs filled with disappointment, as she portrays the character of the trophy wife in the middle.

And Nicholas Burns encapsulates the emptiness often found in contemporary men within Colin’s collection of neurotic illusions, such as imagining himself as a streetwise tough guy.

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2025-01-31 04:11

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