Review: Gumshoe, Brighton Fringe

Step into the smoky, chaotic world of 1940s New York — only, not quite. In Gumshoe, Christian Dart leads audiences on a hilarious, high-energy ride through a detective mystery where nothing is as it seems, and everything is absurd. Dart’s performance is nothing short of a comedic tour de force, blending slapstick, satire, and sharp improvisation to create a show that feels both meticulously crafted and wildly spontaneous. 

At the centre is Gumshoe, a washed-up private detective with a taste for 10am whisky and a knack for stumbling into trouble. He’s a man out of time — gritty, jaded, and entirely reliant on the next case to justify his existence. But Dart’s interpretation of this archetypal noir figure is anything but straightforward. He plays Gumshoe with exaggerated swagger and deadpan self-awareness, parodying the hardboiled detective trope while injecting it with vibrant, contemporary humour. 

What sets Gumshoe apart is its sheer inventiveness and audience involvement. Dart doesn’t just perform in front of a passive audience, he performs with them as part of the show. In a seamless piece of crowd work, we become the characters that populate his world: birds on a wire, gangsters in a standoff, a suspiciously talented police dog. It’s an impressive feat of control and charisma, as Dart orchestrates the room, like a conductor with perfect comedic timing. 

The show’s use of sound, physical comedy, and fast-paced character switches is outstanding. Pre-recorded voiceovers and clever cues allow Dart to jump between roles in a way that feels natural and dynamic. The absurdity is heightened by joyful anachronisms: contemporary references like ‘Brat Girl Summer’, an Elf Bar that proves surprisingly life-saving, and a scene-stealing re-enactment of Mario Kart as a form of self-defence all collide brilliantly with the noir setting. The result is a kind of organised chaos, one that never loses sight of its story even as it spirals gleefully into the surreal. 

Behind the onstage madness is a highly effective technical operation, run by the talented Johanna Dart. As technician, stage manager and assistant director, she ensures the fast-paced sound and lighting cues land flawlessly, enhancing both the humour and rhythm of the piece. The chemistry between the siblings is evident in the show’s tight execution. Despite its frantic energy, Gumshoe is never messy; rather, it’s controlled chaos, executed with precision. 

Through the lens of noir tropes, Dart explores the emotional fragility of the modern man, loneliness, and outdated masculinity. At the same time, a subtle but fearless feminist humour runs through the piece, poking fun at gender norms without ever feeling preachy. Still, these themes are always secondary to the show’s main aim: to make people laugh — and it achieves that in abundance. 

Ultimately, Gumshoe is a reminder of the joy live theatre can bring when it doesn’t take itself too seriously. It’s a show that asks you to play along, give in to the nonsense, and enjoy the ride. Whether you’re flapping like a pigeon, barking like a police dog, or simply watching it all unfold with tears of laughter in your eyes, there’s no denying the electric atmosphere the Dart duo creates. 

This is a performance that invites chaos, thrives on unpredictability, and never lets the audience off the hook. As the final moments remind us, with a wink and a nod, it’s Gumshoe’s world — we’re just living in it. 

Written by Christian Dart
Directed by Christian Dart & Johanna Dart
Produced by Christian Dart & Johanna Dart

Gumshoe has finished its current run but returns to The New Wimbledon Theatre Saturday June 21