“Admirably boisterous, with plenty of breathless comedy flowing from every scene.”
Reading University Drama Society has made a delirious, heartily amusing comedy out of a sharp and clever setup. The show revolves around the four members of Hitch’s Los Angeles writers’ room in 1961: the well-dressed socialite Kevin (Thomas Sparrow), the mousy, prim Lila (Rebecca Penn), the stringy jittery Scott (Conor Field), and the snarky, forward Maya (Jess Davies). A hapless rookie detective (Luke Cox) introduces the show, blustering through some exposition about a former member of the writers’ room who has turned up disfigured and murdered in the L.A. river. From there, the detective hides — in one of the show’s funniest running jokes — just behind a sofa and barely out of view as the writers go about their business. As they share their ideas of new scripts, the four of them act each out, donning wigs and swapping accents with reckless abandon and generally putting on a flamboyantly silly show of it all. Needless to say, there are Hitchcockian jokes and references aplenty, and it is certainly recommended to have seen more than a few of the films in question if you want to laugh along with the lion’s share of these parodic sequences.
Writers Ades Singh and Cameron Gill clearly take great pleasure in their cinematic references and endlessly silly humour, which to their credit, are both exceedingly well-suited to the Fringe atmosphere. In his role as director, Gill has commendably let the performers have oodles of fun with and the performers, who in turn each give a high-energy performance.
Indeed, there’s plenty of boisterousness all round, with breathless comedy flowing from every scene. Unfortunately, though many of the character moments are well set-up for big laughs, even the performances cannot save some of the lazier impulses of this show. Some of the earlier jokes are clever — such as Davies’ scene-stealing personification of a haunting mother character who is totally not a rip-off from Psycho, or Sparrow’s charming, standout smugness as he explains his own ‘brilliance’ — the play eventually just has the same punchlines over and over: the script seemingly intentionally falls apart into improvisations, repetitive shrugs about why what is happening is happening, and the apparent hilarity of just saying the word “bitch.” In addition, the amount of fourth-wall-breaking becomes tiresome after the first joke of its kind, not to mention to fifth. Thankfully, this is possible to overlook in favour of appreciating the fanciful character comedy on display, such as Cox’s amusing John-Candy-esque slapstick, or Penn’s clipped and funny diary scene, or Field’s admittedly hilarious impression of a pigeon.
It should also be noted that, the three-sided venue Alfred Hitchcock’s Writers’ Room is staged in makes more than half of the play and its gags completely invisible to anyone not in the front row of the centre of the room, not to mention anyone unfortunate enough to be sitting in the eyeline of one of the blindingly bright, oddly low-hung lights. Choose your seat wisely.
Overall, this is a clever setup with a disappointing payoff, that could be helped with a little tightening of the actual story and a few more jokes that aren’t just naughty-word-humour. Credit where credit is due, however, the ensemble — Thomas Sparrow and Jess Davies in particular — turn in such vivacious performances that this reviewer would be curious to see what this team does next.
Reviewer: Nathaniel Brimmer-Beller (Seen 17 August)