Da Vinci’s Laundry with Arsema Thomas at Riverside Studios – review

Keelan Kember’s new comedy Da Vinci’s Laundry explores the art world, questioning the value of art and whether the creative space has become money-obsessed..

Directed by Merle Wheldon, Arsema Thomas and Kember star as Milly and Christopher, two salespeople who are tasked with auctioning what is believed to be a Da Vinci piece. However, they both have their doubts about its authenticity. Milly and Christopher find themselves in a chaotic auctioning process, involving a Russian art collector, a Middle Eastern prince and an American who only cares about his commission. What follows is a chaotic and absurd chain of events.

Kember writes in the programme that he was intrigued by how our perception of “great” art has shifted over time, and the show explores this through a satirical lens.

Ellie Wintour’s set design, all blank walls and canvases, resembles a minimalist gallery. This clean aesthetic perfectly juxtaposes the messy situation the characters land themselves in. Jack Hathaway’s lighting adds dynamic shifts, with bold neon bulbs indicating transitions between locations – from hotels to auction halls to airport lounges.

Thomas portrays Milly with a fierce passion for the arts and appears more morally abiding. She seems to resist being drawn into the dodgy dealings with their client, Boris (played by John Albasiny) and has interesting dialogue about how art has become, “for the price, in spite of the craftsmanship.” The writing briefly touches upon the loss of great art, as Milly amusingly compares historical wonders like Notre Dame or the Parthenon to the Barbican. This idea and message could have been explored in more depth, but the narrative often diverts to side plots, such as Milly’s personal life and friendship with Christopher, which distract from the show’s main critique.

Kember brings a charming, Hugh Grant-esque aura to the role of Christopher. Incredibly witty, with the best one-liners and wonderful comedic timing. His fun-fact ramblings and dry humour are also very entertaining.

Steve Zissis adds a charismatic energy as Tony, an American commissioned by the prince to acquire the Da Vinci piece. He’s boisterous, ignorant and proudly patriotic. He’s a cliché character and some jokes don’t always land, but his farcical nature makes him strangely likeable. Completing the cast are Albasiny as Boris and Fayez Bakhsh as the Prince, both involved in the auctioning and purchase of the artwork.

While Christopher and Milly come across as more well-rounded characters, the supporting cast feel too vague, and veer towards caricature. Perhaps this is intentional, as the play is described as satirical. Nevertheless, it is difficult to connect with them and ultimately engage with what the play is trying to say. The tonal shift, particularly during the vulnerable conversations between Milly and Tony, feels dissociated from the comedy that the show begins with.

Da Vinci’s Laundry is an ambitious comedy, with some great moments; Kember’s talent for witty dialogue and the comedic delivery amongst the cast is undeniable. With more focus on the key themes and delving deeper into the message that is trying to be conveyed, it could be a sharp commentary on authenticity in the art world.