Review: A Role to Die For, Marylebone Theatre

In an office adorned with portraits of James Bond actors, five are prominently displayed. A much smaller one of George Lazenby is tucked away – which is, in itself, a crime (On Her Majesty’s Secret Service is clearly the best Bond movie, and indeed the best Bond novel). On the phone here is Deborah (Tanya Franks) – not-quite Barbara Broccoli – who, along with her uncle Malcolm (Philip Bretherton) – not-quite Michael Wilson – hold the reins of the 007 franchise. Deborah’s son, nepo-baby intern Quinn (Harry Goodson-Bevan), has been tasked with stepping into the family business and becoming a producer on the next Bond instalment.

Writer Jordan Waller gets the laughs started from the off. A rapid-fire opening scene lampoons Hollywood meddling in the writing process, complete with demands for more explosions – cultural sensitivity be damned. Director Derek Bond (no relation) keeps a brisk pace, often with barely a pause between punchlines. He resists waiting for laughter to settle, which keeps the energy high but sometimes undercuts the impact of sharper lines.

Franks is good as Deborah, but the play focuses on the fast talking and very shouty aspect of the character, giving her less to do, which is a shame as moments dealing with family, involving both Malcolm and Quinn, show that she has a lot more to offer. Goodson-Bevan is excellent; given a lot more of the personal drama to carry. He shines from early on, with a nervous energy as he tries to talk to his mother and then as he finds his life diverging from her plans and from Bond, slowly becoming more sure of himself, more secure. In a short space of time Goodson-Bevan nicely sells the journey. Bretherton’s dry delivery and bursts of indignant outrage demonstrate excellent comic timing, offering a solid counterpoint to the surrounding chaos.

With a script and a new author now on track, all that is left is to announce the actor taking over the role of James Bond after Daniel Craig. Tomorrow brings a big announcement, a visit to MI6 and a big reveal. What can go wrong? Well, maybe if your new James Bond suddenly becomes uncontactable as rumours – then screenshots – start to swirl online with allegations of his being a sexual predator and grooming minors. A clever gag well delivered has the producers reassuring themselves “It’s not that bad”, but as they scroll further into the allegations, it really is that bad and then they find themselves neck-deep in double entendres and Bond puns (“Dr No Consent” being a particularly memorable one).

The team must recast Bond in under 24 hours. Malcolm wants to play it safe with a generic white leading man, but Quinn introduces an audition tape from Theo (Obioma Ugoala), a bold new choice for the first non-white James Bond. Ugoala is electric, delivering suave charm in his brief, full on Bond moment, dazzling Deborah. But it’s a later scene where a quiet conversation with Quinn about race, empire, and the pressures to conform in casting really ties into the play’s emotional core, raising questions about identity, legacy and the weight of expectations. It’s a moment of real vulnerability, beautifully written and performed, that hints at the more grounded drama lying beneath the farce and really leaves us wanting more of this. The show is funny, but this heart is really lovely.

It’s a shame the play doesn’t make more room for this emotional depth. While the comedy is sharp and the pacing tight, moments like Theo’s words really dial into a richer vein of character and theme that could have been more fully explored. Nevertheless, it’s a clever farce with enough wit and punch to keep Bond fans and newcomers entertained.

Written by: Jordan Waller
Directed by: Derek Bond
Set & Costume Design by: Cory Shipp
Lighting Design by: Adam Foley
Sound Design by: Amanda Priestley
Video & Projection Design by: Matt Powell

A Role to Die For plays at Marylebone Theatre until Saturday 30 August.