DramaFeaturedLondonReview

The Flea – The Yard, London

Reviewer: Charlie Ellis

Writer: James Fritz

Director: Jay Miller

In squalid Bermondsey in 1889, a scandal is sparked when 14 shillings are discovered in Charlie Swinscombe’s locker. What unfolds is a shocking tale that not only sets the stage for countless sexual scandals among the upper classes over the next century but also offers a searing critique of class dynamics and morality. James Fritz’s oscillating script looks at a kaleidoscope of perspectives, from the flea on the back of the rat that spooked the horse that killed Charlie’s dad right up to Queen Victoria pleading with God almighty to tell her what to do.

The scope of Fritz’s script is as vast as it is specific. Somehow avoiding any feelings of motion sickness, the story takes us from tiny everyday domestic drama to a regal conversation with the divine and back again. It is damming how familiar this story is: the working class driven to dangerous extremes for survival, while the wealthy manipulate these risks to their own advantage. It is daring and provocative to position the queer aristocracy of Victorian England against modern predators such as the visitors to Epstein’s island. However, Fritz handles this with grace and sensitivity, and what emerges is a charming and compelling retelling of the Cleveland Scandal.

The ensemble cast of five is exceptional, each actor multi-roling with skill and flair. Each brings their own pantomime lechery to their upper-class characters and expressive despair to their lower-class counterparts. Breffni Holahan imbues Emily Swinscow with the raw power of a mother wronged whilst maintaining a steady narration. She is equally as expressive with a very different type of matriarchal power in her rendition of Queen Victoria. Her range is astonishing.

Stefan Race brings a gentle vulnerability to Lord Arthur Somerset, creating an important distinction between desire and abuse of power. Aaron Gill’s portrayal of good-natured Constable Hanks is full of sharp comedic timing and elicits laughter in otherwise serious moments, and he exhibits some real nuance in his performance as the Earl of Euston. But perhaps the most memorable performance is given by Tomás Azocar-Nevin as the reptilian Prince of Wales, who fully embodies the duality of power, mastering the paradox of being both the biggest and smallest person in the room. Will Bliss as Abberline and Hammond gives a welcome constancy, a well-paced reminder that this all really happened.

The world of The Flea is hued by extraordinary design. Costumes by Lambdog1066 are exceptionally detailed, fusing a punky-DIY aesthetic with the class-signifying garb of Victorian costume to create a whirlwind of quick changes that feel as thrilling as a circus act. Hair and make-up by Dominique Hamilton is equally as swift and debaucherous. Naomi Kuyck-Cohen’s set design takes a bold approach, eliminating subtlety and presenting stark social hierarchies in stretched, exaggerated forms. The design elements are not only functional but frequently hilarious, adding a layer of visual wit to the production.

Every element of this show works in perfect harmony, with each component—be it acting, design, or direction—feeling like the most important thing in the moment. The Flea is a darkly comedic, sharp, and utterly gripping tale that demands attention. It’s a show that leaves you both laughing and reflecting on its damning critique of power and privilege.

Runs until 30 November 2024

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Upper-Crust Chaos

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The Reviews Hub London is under the editorship of Richard Maguire. The Reviews Hub was set up in 2007. Our mission is to provide the most in-depth, nationwide arts coverage online.

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