A Role to Die For at Marylebone Theatre Review
Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
It is impossible to ignore the impact of the debonair spy and his Aston Martin speeding around the world and the juggernaut success of both the books and films. There is no question our media loves to ask more than who the next Bond will be, especially since Daniel Craig’s retirement from the role. A Role to Die For is writer Jordan Waller and director Derek Bond’s input into this eternal question at the Marylebone Theatre.
The plot unfurls in the office of Deborah (Tanya Franks). She is a bold and brassy producer who is ruthlessly ambitious and willing to do anything necessary to protect the film franchise her father, the original producer of Diamonds Are Forever, created. We quickly meet her progressive son Quinn (Harry Goodson-Bevan), who would rather be making a documentary with his partner Faroush in Sierra Leone than stay in the office, and her highly flappable cousin and co-producer Malcom (Philip Bretherton). Everything seemed exciting because they had the perfect A-list star, Dave, for the role, but a shocking and deplorable secret was uncovered, causing the producers to scramble to find a last-minute replacement for the actor Bond 22 hours before the reveal to the press.
The chaos that ensues is hilarious, and the final choices are bartender Theo (Obioma Ugoala) or the more traditional casting of Richard (Peter McPherson). Theo appears such a wholesome and smooth character that he would definitely had my vote, but the reveal of his sexuality and happy fiancé causes doubt among Malcolm and Deborah. The cast’s chemistry was fantastic together, and Franks’ sheer charisma and punchy delivery carry this play’s cheeky commentary so well. Goodson-Bevan is sweetly vulnerable and sincere as her son Quinn and their awkward dynamic is well written and filled with painful longing. Bretherton is excellent in his subtly scheming but also sheer panic in anything that veers the slightest from the traditional broken-down path. Ugoala is a warm, nuanced, and welcoming Bond actor and would be a fantastic audio narrator for the Fleming books with his deeply resonant voice.
The costuming by Cory Shipp was an excellent mix of snappy suits and old-world elegance. The set was a fantastic office which was filled with little nooks and Easter egg style nods to both the James Bond actors and the character himself. The audience greatly enjoyed the homage to the original film sequence in the transition of the set. The themes of inclusion, greed, and the highly morally questionable nature of the character and the producers is explored with camp and very tongue-in-cheek humour. It addresses attitudes towards masculinity, magnified and equally derided in Bond, in a very interesting and nuanced way. I particularly appreciated how healthy masculinity was showcased in the new Bond and where the play explores how homosexuality, unfortunately, still can be so easily rejected by producers if it is not contained to the very narrow stereotypes of the early 2000s.
It’s clever criticism of the media world and pointing out its inherent fragility, with looming financier Lacroix, is also nuanced and interesting. The pacing of the play is fast, due to the 22-hour deadline, but the first act is more carefully paced and wound, in contrast to the second act, which feels the frantic last twenty minutes of a Bond film and allows as little chance for reflection. If you enjoy tongue-in-cheek satire, amazing actors, a joyful homage to the Bond franchise, and exciting moments, plays filled with dramatic twists, then this is the show for you!
A Role To Die For plays at Marylebone Theatre until 31 August
★ ★ ★ ★
