The opening of this play may catch you unawares, so pay attention from the start! In fact, throughout this play, the audience are taken by surprise again and again, frequently duped into thinking one thing while watching another. The programme doesn’t help with the plot, for in the writer’s words, ‘It’s about an hour’. Instead, this show is about going on a journey with two characters and seeing where it leads.
The story centres on two East End London boys and to say more would be to spoil the surprises. Adrenalin is high as they simultaneously throw both compliments and accusations at each other, sweating profusely and looking like someone may just have a heart attack. Suddenly, it all changes. There’s something else going on as more but distinct compliments and accusations fly. The dialogue is fast, furious and highly believable. Even the tea-making sounds realistic. Each finishes the other’s sentences and seems to know what the other is thinking, either by a look in the eye or a shrug of the shoulders. At times, the tension in the air is palpable.
Both actors slip effortlessly in and out of multiple roles, arguing over the need for a director and whether sex is better than cheesecake. It’s a kind of Waiting for Godot meets Only Fools and Horses, with both characters playing variations of Del Boy, seasoned with hints of Grandad and Rodney and a handful of farce.
Albert Welling’s writing is well observed and tight. His delivery, along with that of Ronnie Toms, is spot on. The characters are believable and the camaraderie between them discernible. The differences in direction lends a fascinating glimpse behind the scenes to the making of a play. A play within a play can often be tedious - and will be to some people - but this works well here due to the excellent combination of acting, writing and direction. It may seem like there’s no direction but that’s because it’s all smoke and mirrors.
