JADAR

★★★★☆

Emma Rice is one of those theatremakers with a distinct and unique style. Others might do similar things but they won’t do it as well. Her latest production, North by Northwest, is a camp, comedic adaptation of the Alfred Hitchcock film of the same name, which takes inspiration from Operation Mincemeat (which is, of course, now a camp, comedic stage production of its own).

The six-strong cast is led by Ewan Wardrop as Arthur Thornhill, an everyday man who gets caught up in a Cold War conspiracy. The production, itself, is very much a tribute to, and parody of, old spy films. Wardrop characterises Arthur as an archetypical loveable hero from one of those films, right down to the accent. It’s deliciously ridiculous.

Karl Queensborough, best-known for leading the second West End cast of Hamilton, plays a few roles, but his most significant role is the antagonist, Phillip Vandamm. Queensborough similarly relishes playing an archetypical villain that borders on caricature; he chews up the scenery and leaves no crumbs. He also hilariously plays Arthur’s tough mother.

The show is narrated by Katy Owen, who also takes on a few roles within the main narrative – and steals the show. She’s one of those utterly captivating performers that manages to stand out in an already super strong cast.

The company is rounded off with Mirabelle Gremaud, Patrycja Kujuwska (whose main character, Clara Thornhill, is quite the mystery), and Simon Oskarsson.

The cast have to play a large number of characters, each of them distinguished and over-the-top. It’s a testament to their talent that they all excel at every single one of them.

The production makes great use of movement, especially physical theatre, to humorous effect. Etta Murfitt’s choreography is quick, sharp and outlandish. She capture’s the surreal, whimsical quality of Emma Rice’s text.

Rob Howell’s set design is elegant and charming. It consists of a series of revolving doors (perhaps referencing the many disguises of both the actors and the characters), each lined with liqueur bottles. It’s gloriously grand. His costumes are proudly pantomimic, like a community theatre raiding the local charity shop.

Simon Baker’s composition and sound design are spoofy and sublime. Malcolm Rippeth’s lighting is simultaneously inventive and deliberately clichéd, bringing to life the purpose of the production: to breathe new life into a predictable, dated, overdone but beloved genre.

Emma Rice’s direction is impressively imaginative. She brings a classic espionage film to life on a small stage, using objects, such as suitcases, as things, such as Mount Rushmore! The suitcase becomes something of a motif, representing travel, escape, and secrets. Characters often carry suitcases, or other objects, with placards telling us where we are or what is inside them.

There are lots of recurring tropes and themes. Some are done better than others. The lip syncing to classic songs, whilst fun the first few times, eventually loses its impact – especially because it’s an entire song performed each time. The only live singing is when Mirabelle Gremaud briefly sings Edith Piaf (if memory serves me correctly, it was ‘La vie en rose’ – but this production squished in so much, it’s hard to remember!).

Probably the best recurring trope is the use of magnifying glasses to enlarge things such as letters and cards, with performers holding up large versions of the objects, representing what is seen in the magnifying glass. This is especially funny later on when a matchbook is magnified – and opened up, revealing massive matchsticks.

The production is very meta and self-aware. At times, it acknowledges that it is a production, though usually subliminally, such as a character referring to the room as a theatre whilst pointing at the audience, or another character remarking that Vandamm looks awfully like Arthur’s mother. The set, itself, is meta, with a long clothing rack filled with jackets at the back of the stage, referencing performance and disguise.

However, whilst the book has moments of brilliance, it also has its flaws. There is not quite enough substance underneath all of the unashamed silliness. Important themes are raised too late, rendering them an afterthought. It lacks the messaging of Rice’s previous productions, such as Wise Children and Blue Beard.

This adaptation also lacks the darkness and jeopardy that one expects of both Hitchcock and espionage films, by virtue of being so silly. Underneath it all, the silliness is both its shining star and its downfall.

The play (with music) also runs too long. It goes on and on. The many twists and turns are entertaining, and necessary, but many of the scenes could be cut short (especially the music!). Such an intense, dramatic story demands the audience’s undivided attention, but I found my mind dwindling as some scenes plays out. The play could benefit from better pacing and the removal of some unnecessary elements.

North by Northwest is a bold, punchy adaptation that breathes new life into a classic by masterfully satirising a beloved but dated genre.

North by Northwest runs at HOME (Theatre 1) until May 10 and tours the UK until June 22.

Photo: Steve Tanner