Review by Amelia
Ticket was gifted in return for an honest review
English playwright Brandon Thomas was not to know that the play he had written in 1892, would go on to become such a huge hit. It was first performed at the Theatre Royal, Bury St Edmunds, before moving to London’s Royalty Theatre and then to the Globe Theatre, where it found much success. Charley’s Aunt began as a British stage farce and grew into one of the most widely performed comedies in the world, influencing countless later plays and films. The play became the model for the Victorian farce, full of mistaken identity, quick timing, and social satire. Having never seen the original, I can only base my opinion on the version currently being presented at the Watermill Theatre in Newbury, which has been adapted by the superstar that is Rob Madge. Having seen a couple of their other works, I was so excited to see this new project and see how their creative touch has reimagined the original piece.
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| Photo by Mark Senior |
From what I’ve read there have been some changes to the original story. For example, Jack Chesney’s father is not present in this cast, and therefore does not try to court Babbs like the girl’s guardian does. The main adaptation to the show, however, comes in its celebration of queerness and opening doors for everyone to be represented in what they’re seeing. Of course, the story largely remains the same - it would be a shame to lose what’s known to be Brandon Thomas’s brilliant wit. However, this version feels refreshingly open and inclusive. The cast represents a wide range of people, and that diversity feels completely natural within the world of the play, despite it being set in a time where this was not encouraged. The comedy, once rooted in a man’s discomfort with dressing as a woman, is now reimagined through Babbs’ genuine love of performing and exploring different roles. In doing so, it dismantles outdated gender norms and expectations. Those who resist this shift become the characters we don’t root for, while the empathy and sincerity in Babbs’ portrayal only deepen the play’s modern relevance.
Max Gill throws everything into this role, delivering a performance that makes the final payoff all the moresatisfying. Their commitment to the character and impeccable comedic timing are exceptional, and we genuinely feel as though we’re joining them on this journey of self-discovery. They’re joined by a wonderful ensemble who gel together effortlessly. Jonathan Case and Benjamin Westerby are perfectly charming as the two desperate men of the story, pining after both money and birds (quite literally and figuratively). Their betrothed, Amy and Kitty—played by Mae Munuo and Yazemin Özdemir respectively—are delightfully giddy and eager to get the marriages underway. The dialogue sparkles throughout, blending old and modern phrasing to great effect, and the foursome bounce off one another with natural ease. Richard Earl, Maggie Service, and Elijah Ferreira complete the stellar cast, each delivering marvellous performances. The group’s chemistry is undeniable, and their impeccable comedic timing elevates every scene.
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| Photo by Mark Senior |
The set and costume design by Alex Berry are exactly as they should be - charming, effective, and never overpowering. Subtle musical touches woven throughout the piece add a lovely layer of wit, with a Bridgerton-style rendition of Pink Pony Club being a particular highlight during a set change. Director Sophie Drake brings it all together with precision and flair, delivering a production that feels tight, confident, and thoroughly engaging. The only minor drawback was that the pacing occasionally lost momentum, with a few scene or dialogue transitions feeling slightly sluggish; however, this was a small detail in an otherwise well-executed production.
The production as a whole brilliantly celebrates queer joy and acceptance, and it’s hard to imagine anyone not being swept up in its charm. While I adored the intimacy of the setting, I can’t help but wonder how the show would translate to a larger stage, so I’ll keep my eyes peeled for a transfer.
⭐️⭐️⭐️⭐️
Charley’s Aunt is playing at the Watermill Theatre from Friday 3 October through Saturday 15 November. Tickets are available from https://www.watermill.org.uk/
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| Photo by Mark Senior |
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