Black Comedy at the Orange Tree Theatre – review

Playwright Peter Shaffer’s work is having something of a moment: Equus is currently enjoying a successful revival at the Menier Chocolate Factory, and an exciting new version of Amadeus is coming to the West End in 2027, starring Michael Sheen and Callum Scott Howells. Lesser known is the 1965 Black Comedy, a quirky and incredibly funny farce, now playing at the diminutive Orange Tree Theatre.

Set in a London flat in the mid-1960s, struggling artist Brindsley and his fiancée Carol are preparing for the arrival of both prospective art collector Georg Bamberger and Carol’s disapproving father, Colonel Melkett. To impress the visitors, Brindsley has “borrowed” his neighbour’s furniture and art without permission. A power cut suddenly threatens the success of the evening and as neighbours, friends and ex-lovers begin to arrive unexpectedly, the night descends into inevitable chaos.

Inspired by Chinese play Where Three Roads Meet, Shaffer’s twist is to reverse darkness and light. The play begins in complete darkness, then as the power cut is announced, the blackened stage suddenly is illuminated. Brindsley must return the “borrowed” property, whilst simultaneously making a good impression on his prospective father-in-law and dealing with increasingly fraught neighbours, a demanding fiancée and an alluring ex-girlfriend. All in the pitch black.

The result is a delight of physical comedy in seeing everyone stumbling around in the supposed dark, with shadowy moments where a match is struck or a torch is lit. Cleverly, the darkness also provides cover for other hidden truths, such as just how close Brindsley is to his ex.

Joe Bannister channels the spirit of John Cleese as Brindsley, increasingly panicked and hysterical at how his evening develops. His energy is excellent, at one point carrying a heavy wooden rocking chair while balancing a leather bag on one foot. Leah Haile is shrill and petulant as Carol, ambitious for herself and desperate to impress.

As Colonel Melkett, Jason Barnett is simultaneously indulgent with his daughter and rigid with others. Simon Manyonda has huge fun with the role of exacting and closeted neighbour Harold, dapper in a sharp pinstripe suit. Julia Hills is suitably nervy as God-fearing neighbour Mrs Furnival and Patricia Allison brings skittish energy to ex-girlfriend Clea.

It’s hard enough to perform farce well when there’s a fair distance between the audience and the stage. So full credit to director Caroline Steinbeis, along with physical comedy consultant John Nicholson (of anarchic comedy theatre company Peepolykus), for creating a catalogue of very well-executed, increasingly frenetic physical slapstick, pulled off at such close quarters. Characters crawl furtively through the legs of others, drinks get swapped so a teetotal neighbour downs whiskey, Brindsley is used as a rocking chair by Colonel Melkett and actors plonk themselves on the front row to carry on conversations.

There’s also much comedy to enjoy in the script, with miscommunications and misunderstandings aplenty. The cast ramp up the pace into a frenzy and seem to love every moment on Simon Daw’s paint-spattered stage, which makes judicious use of a trapdoor towards the end of the production.

A highly entertaining, slick farce and a fitting highlight on Shaffer’s many talents.