Devisors: Baby Lamb
Directors: Hannah McLeod and Janik Rajapakse
A leading fashion designer, self-styled as ‘The Emperor’, is in trouble: his winter collection has bombed, and he needs a major hit soon if his reputation is to be saved. As he succumbs to the schemes of a pair of con-artists who are offering a fabric so cool that only the coolest of people can actually see it, it becomes obvious that Andersen’s fairytale of the emperor’s new clothes is being transported very closely into the world of contemporary fashion.
And very close to the original story it is too: there are no metaphorical reinterpretations here or high-concept reinventions, just strong, honest story-telling which, given the subject of its satire, appropriately eschews pretentiousness. All this is hugely to the credit of a company of six young actors who have devised the piece collectively to produce a remarkably polished play in terms of narrative clarity, pacing and genre.
Yes, the play gravitates towards farce with some old, if much loved, jokes (channelling Wodehouse with the classic impenetrable disguise of a simple false moustache) rather than piercing contemporary satire, but the mode of humour is perfectly consistent throughout. Directors Hannah McLeod and Janik Rajapakse show huge potential for bringing to the production such coherence along with impressive attention to detail and skilful use of a small stage.
Much of the humour is extremely successful, one highlight being the constant abuse the only competent member of the fashion business Maureen (Nisha Emich) receives from the thoroughly repellent Emperor, played by Jacob Baird, whose impressive switch of accents provides more of a comic climax to the play than his inevitable catwalk humiliation. His callous treatment of his indefatigably obedient, if bonkers, minion (Hannah McLoed) as a human Alexa device provides another of the more contemporary jokes that feel fresher than the double act of the con-artists, even if the excellent Sasha Brooks skilfully resists overplaying the ineptitude of her character.
Indeed, the acting is universally superb, and these young performers show all the signs of deserving to go far in their careers. So sharply defined are the contrasts between characters that it is very easy to miss that there is multi-roling. Particularly effective is Kip O’Sullivan who transforms from fashion-show compere into strutting hyper-cool model providing further comic highlights.
There is nothing revolutionary about this production, but it provides an immensely enjoyable hour’s entertainment and shows exceptionally strong groundwork from which to build into more innovative territory.
Runs until 11 March 2023
