When a not-quite-dotty widow lets a room to a criminal gang leader masquerading as a professor and musician wanting rehearsal space — supposedly for a musical performance, but really for a heist — the stage is set for desperate deceptions, dastardly deeds and loads of slapstick.
Performances by Brook Bray, Yvonne Jessop, Campbell Thomson, Sam Ogden, Tom Makinson, Chris Summers, Reuben Hilder and Beth Evans are without exception splendid: especially impressive is that of Hilder as Louis, the Romanian cutthroat whose heart turns out to be less than adamantine. Plot devices include a concert performed by crooks who have no idea how to play the instruments they are holding, a disgustingly stinky parrot (don’t worry, the audience doesn’t smell a thing) and trains passing at intervals beneath a window conveniently located for defenestration.
The production’s weakness is the size of the Globe’s stage. A two-tiered set helps, but this is ensemble work and several actors bumbling about, plus props including furniture, large musical instruments, pillows and a birdcage, result in a cluttered, hampered look. Associated with this is an often just-too-slow pace.
Still, it’s a good-humoured production with a clever plot, excellent characters and a nostalgic air.
The Ladykillers has an interesting history. Originally a 1955 film, it’s been adapted for radio and even turned into an opera. The Globe’s version was written for stage in 2011 by Graham Linehan, and some of the jokes and language point to its comparatively recent origin.
It’s directed by Brian Beresford, with set by Ray Fleury, lighting by Brian Byas and wardrobe by Rachael McCann. It’s great seasonal fun, and Thursday night’s near-capacity audience was thoroughly entertained.
The Ladykillers
• Globe Theatre, Thursday, December 7
