Derrière on a G String at the King’s Head Theatre Review
Written by Philip for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review. All views are our own
On a warm May evening, Derrière on a G String by Some Smith and Moore bursts onto the stage at the King’s Head Theatre in a riot of camp, chaos and unapologetic mischief. Bold, bawdy and gloriously silly, this is not one for the prudish amongst you.
This deliciously raucous and devilishly raunchy production is an absolute hoot. Blending physical theatre and dance, it ignites the stage with laugh-out-loud humour and infectious energy. Set to some of the most iconic music ever written, the show unfolds through a series of wonderfully naughty sketches, each told entirely through movement and gesture, without the need for dialogue. Entire stories are conveyed with astonishing clarity through choreography alone.
Alfred Taylor-Gaunt excels as both director and choreographer. Every beat is impeccably timed, right down to the scene changes and clean-up moments, which become mini sketches in their own right. The world created by the creatives and cast, using only minimal props and costume, feels remarkably vivid and inventive throughout.
The cast is uniformly exceptional, balancing razor-sharp comic instincts with extraordinary technical skill. Sammy Moore leads the troupe with charisma, confidence and effortless charm. Wonderfully expressive throughout, he commands the stage with both precision and warmth, while his dancing is consistently superb.
Ryan Upton and Cam Tweed are hysterical together, particularly in the builders sketch, which had the audience roaring with laughter. Upton brings a commanding physicality and razor-edged comic timing, while Tweed’s magnetic stage presence and natural flair for absurdity make him endlessly watchable. Their Swan Lake duet was nothing short of iconic.
Ena Yamaguchi is a standout, delivering both elegance and hilarity in equal measure. An early sketch involving relentless charity collectors perfectly showcased her expressive movement and excellent comic control. Courtney Cyrus injects every appearance with flair, attitude and gleeful chaos, particularly during one unforgettable kink-inspired sequence with kinky outfit to boot. Alice O’Brien rounds out the company brilliantly, bringing sharp comic intelligence and a wonderfully playful rapport with the audience. Her interactions with one particularly uncomfortable audience member were an absolute delight and had the room in stitches.
A considerable amount of the show’s humour comes from the fact that much of the cast spend a large portion of the evening clad only in their underwear. Risqué, cheeky and knowingly outrageous, it never feels gratuitous; rather, the celebration of the human body becomes central to the show’s joyful spirit, whilst also heightening the absurdity of many of the sketches.
Emily Bestow’s set design is compact, clever and used inventively throughout, while Luke Bateman’s musical arrangements are inspired, brilliantly reimagining beloved pieces of music to complement the production’s wonderfully frantic and mischievous tone.
Overall, Derrière on a G String is a gloriously sexy, riotously funny romp and an utterly joyous evening of theatre. Do whatever you can to get yourself a ticket. I sincerely hope this production enjoys a long future life, because it truly is superb.
Derrière on a G String is playing at Kings Head Theatre until 7th June.
★ ★ ★ ★ ★