Da Vinci’s Laundry at Riverside Studios Review
Photo by Teddy Cavendish
Written by Stacy for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Trigger warnings: strong language, violence and threats, references to alcohol/drug usage and death.
Keelen Kember brings another sparkling satire to Riverside Studios with Da Vinci’s Laundry. Directed by Merle Wheldon, this new production centres around the complex world of high art deals. Loosely based on real events, including the 2017 fake Salvator Mundi, we meet Beauchamp’s auctioneers, Milly and Christopher, in a vault of a Russian Mobster, debating a $450 million Da Vinci work that is definitely a fake. Drama and comedy ensue as they all explore is modern art is worth the astronomical price paid for it?
The actors are utterly fantastic in creating a highly comedic but believably tense atmosphere. Arsema Thomas shines as Milly, the comedic “straight woman” who serves as a wonderful foil against the other characters' ridiculousness and a fabulous moral standard against which to measure them. Kember is wonderful as Christopher Gooseberry, a character incredibly dry-witted and verbose as he is woefully out of his depth with Russian mobsters, manic MAGA fixers, and sinister Arabian princes. His use of subtle gestures is excellent at layering the character. Fayez Bakhsh is excellently sinister and extravagant as the prince. John Albasiny is excellent as the sinister antagonist and Russian billionaire. Steve Zissis, as Tony, however, truly stole the show comedically. He is fantastically horrid as a fixer who is willing to do anything for the right price and his constant diatribes about the joys of America, including “if you read books you vote Democrat”. His world of Trump sound bites and love of completely unfiltered direct speech clashes fabulously with Milly and Christopher, who reflect British tact and subtle sarcastic humour in contrast. Zissis’ hugely loud and aggressive acting is perfect for this role and provides most of the laughter and the biggest jokes in this show.
One of the biggest strengths of this play is its phenomenal prose. Kember is becoming a modern Wilde with his clever witticisms and hilarious play on words as characters rapid fire insults at each other. This production relies on using caricatures and stereotypes to propel the plot but in a way that acknowledges the utter ridiculousness of such pastiches in how we view others. This show manages to be incredibly modern, especially with all of Tony’s MAGA dialogues but also manages to capture the energy of fondly nostalgic films such as the Ealing Comedies. It is easy to imagine this becoming a beloved classic in the decades to come.
The set designed by Eleanour Wintour is stark and absolute in use of monochrome white, aside from fluorescent lighting provided by Jack Hathaway. Props are moved by a CSI technician style individual throughout and while the stark lack of detail works very well for showcasing all the different scenes, it can also be very harsh on the eyes, especially in the run up to the show beginning. The pace is fairly consistent throughout, with the layers slowly being built in different conversations; however the last thirty minutes the comedic twists and turns ratchet higher to a very interesting and taut conclusion, which had the audience in fits of laughter. Its 90-minute running time without an interval works well to keep the audience engaged and interested without running overlong.
This is an incredibly fun production that will have you laughing hard and often. It is a delightful slice of ridiculous satire, which is sorely needed in these trying times, and is a brilliant show to send you off with giggles before hibernating in the winter months. If you enjoy witty monologues, clever commentary on modern art, and a hilarious night out, then this is the show for you.
Plays at Riverside Studios until 25 October
★★★★
