Spymonkey’s Moby Dick

Herman Melville’s well known story follows narrator Ishmael and the tattooed harpooner Queequeg as they board the Pequod with the notorious one-legged Captain Ahab. As the captain reveals his intent to find the whale which mutilated him, the story soon descends into chaos as his desperation for revenge turns him mad.

A dark and dramatic tale, Moby Dick is often referred to as The Great American Novel. However, don’t let all that serious stuff get in the way – this is a Spymonkey production, and serious isn’t their forte.

If you like slapstick, this is your show. Wringing every single joke out of each and every situation, the company are well practiced in ensuring every laugh is squeezed out of their lines. A delicious mix of clever, rude and downright ridiculous comedy, Spymonkey live up to their comedic reputation. Puppets, neon light shows and a mermaids’ lament (which, perhaps unfortunately, I can’t stop singing) help propel the show into new depths of absurdity.

Lucy Bradridge and Graeme Gilmour’s stage design is nothing short of superb, with directors Jos Houben and Rob Thirtle making full use of its versatility. The company are strong and their long history of working together shines through. Aitor Basauri, Petra Massey, Stephan Kreiss and Toby Park have enough energy and enthusiasm to ensure the staunchest of audiences are laughing in the aisles. 

The only problem with this sort of comedy is that it can too easily get overstretched. On occasion the jokes get pushed far beyond their natural course which results in a flat, almost pitying laugh to finish. Constant repetition of this sort is often brilliant in children’s comedy, but as the show’s youngest audience is of secondary school age, it renders the technique somewhat useless.

This however is a small flaw in an otherwise thoroughly enjoyable show. An incredibly fresh take on what is a well known and well reproduced story, Spymonkey add their own unique style in what is a memorable, and at times brilliantly funny production.