“A Night of Hilarious and Joyful Chaos”: One Man, Two Guvnors Takes to the Stage
The Performing Arts Centre was transformed last week into the underworld of 1960s Brighton for an ambitious and challenging production of Richard Bean’s One Man, Two Guvnors. Based on Carlo Goldoni’s classic The Servant of Two Masters, the play is a hilarious farce based upon the Italian commedia dell’arte tradition. It requires immense amounts of comic charisma and skilful stagecraft to pull off. Comedy is often more demanding for young actors than ‘straight’ drama, zand this talented company rose splendidly to the occasion, sustaining high energy levels and brilliant absurdity throughout.
A play which appears to be a whirlwind of chaos is, in reality, the result of meticulous timing and immaculate stage choreography. The complex plot – full of “stage business,” rapid-fire exits, and frantic entrances – was handled with impressive slickness by the two casts. Supported by a great set and costumes that captured a strong period feel, and a live band delivering a quintessential Sixties soundtrack, the production was a vibrant success.
At the heart of the madness is the permanently hungry and slightly dim-witted Francis Henshall, a role that demands an exhausting balance of scripted dialogue and skilful improvisation. Julia Gebhardt and Immi Sharp, performing on alternate nights, both excelled in this major role which is immensely difficult to deliver successfully. Both performers displayed incredible comedic timing, blending physical “laziness” with a frantic, infectious panic as they each struggled to keep their two bosses apart.
Those two bosses were played with equal flair. As Stanley Stubbers, Molly Dufty and Mary Laney captured the ridiculous poshness and unearned “public school” arrogance of the character; both seemed to draw upon their “inner Miranda” to bring the character to life. Meanwhile, Amelie Lockley and Rose Savory took on the role of Rachel Crabbe, disguised as her dead twin brother. Both were highly effective, leaning into a convincing (and occasionally hilariously unconvincing) masculine swagger to maintain the ruse.
The Brighton underworld was anchored by Charlie “The Duck” Clench, played by Oliver Jukes and Cooper Collins. Both portrayed the old guard gangster with a perfect East End accents, capturing his blend of tight-fisted anxiety and pomposity as he tried to maintain his dignity amidst the collapsing world around him. As his daughter Pauline, Nell Nichols and Eva Davies were highlights of the show. They perfectly captured her – shall we say ‘limited’ grasp of the world – using blank expressions and slow processing to emphasise her dim-witted, melodramatic devotion to her fiancé. Their delivery of the infamous line “I don’t understand!” reduced the audience to stitches.
Becca Gardner and Kez Colthurst were superb as Dolly, Charlie’s bookkeeper. As the smartest character in the room, both actors established a strong connection with the audience through “knowing” looks and sharp, fast-talking wit, serving as the necessary foil to Francis’s antics. Dolly is always one step ahead and Kez and Becca were both superb with strong presence on stage once again.
The Dangle family added further layers of comedy. Hope Bradley and Oliver Mags played the bent lawyer Harry Dangle with oily, Latin-crammed, upper-class self-importance, acting as the perfect straight men to the unfolding chaos around them. Their pride in their son Alan, the aspiring and over-the-top actor, was a comic treat. Faheem Mohamed and Bruno Bond Evans embraced the pure melodrama of Alan, using grand gestures and booming theatrical voices. They made the most of the play’s best gag: [In horror] Alan, where did you get that knife! Alan: Woolworths.
Emily Jackson and Callum Munday provided a much-needed steadiness of rhythm to the play as the ex-con Lloyd Boateng, making the absurdity of the other characters look even more ridiculous by comparison.
No production of this play is complete without the kitchen chaos. Andrew Smith and Izzy Lowe were brilliantly professional as the head waiter, Gareth, remaining hilariously oblivious to the carnage going on behind them. Their interactions with the elderly, slow-moving waiter Alfie – played with hilarious physicality by Arthur Farrow and Emilia Stevenson – were comedy gold, featuring falls and malfunctioning pacemakers that kept the audience rolling in the aisles. The stage drop was performed to perfection and had the audience gasping.
The ensemble, including Olivia Anderson-Cruz, Avalyne Trickett-Born, Charlie Archer, and Ella Shortland, made strong contributions, navigating the complex stage action and props with impressive skill.
This production was a fitting and joyful final bow for several long-standing performers – Mary, Kez, Hope, Amelie, Faheem and Abi Walter (Stage Manager) – who have entertained RGS audiences for years. We wish them the very best as they depart on such a high note. Many thanks to all those who worked on the lighting, costumes, hair and make-up, and also to the front-of-house team and the stage crew, who somehow managed to get everybody and everything in the right place at the right time – no mean feat in this complex and chaotic play. Finally, thanks to Mr Graeme, our Theatre Technician once again and, most of all to Mr Garrity, the Director for another bold and successful Senior production.
Mr N Phillips, Head of English
