Smart, slick, shocking, and surprising, this is an irreverent examination of modern theatre from the stars of future theatre.summary
Rating
Excellent
If you’re at all familiar with the current artistic landscape of our society, then I’m sure you’re also familiar with the modern artist’s struggle for ‘relevance’. Indeed, in a world of ‘okay boomer’ and fast-moving trends, the ability to stay ‘relevant’ feels elusive at best. And, as theatre becomes more politically complex by the second, it’s a wonder anyone’s capable of writing anything new. Still, Robin Hughes has managed it. Over the course of 75 surprising and shocking minutes, Hughes grapples with the state of contemporary theatre in a script so smart and slick it feels like it could slip away and become sentient at any moment. Chock-full of irreverent humour, circling discourse, and unexpected occurrences, The Greatest Play of All Time is a testament to the divisive and precarious balancing act of modern theatre.
As 1 (Martin Coats) and 2 (Lorne MacNaughton) complain and perform, perform and complain at the whim of The Writer, we find ourselves immersed in the world of a play that can’t quite decide on its genre or its message. Desperate to be critically acclaimed and yet quick to reject that same desire, The Writer writes and rewrites whilst 1 and 2 jump through metaphorical hoops, battle exhaustion, and confess their feelings (or are they The Writer’s feelings?) about a myriad of things to an audience of, let’s face it, ‘theatre people’. Under Callum Sharp’s skilful direction, Coats and MacNaughton dip in and out of theatrical styles as easily as putting on (or taking off) a hat. From rom com to Shakespeare, physical theatre to burlesque, and musical theatre to Pinter it seems there is nothing they can’t do… and perhaps nothing they can’t say. Indeed, if inclusivity is the name of the game, The Greatest Play of All Time has it, leaving no minority group untouched in its unrestrained, and occasionally vulgar, assessment of woke culture and its place in today’s theatrical landscape.
With one set, two actors, and over an hour of material you might be concerned about getting bored but with performers of Coats and MacNaughton’s calibre you needn’t worry. From the moment we see them, sat in the semi-darkness on lopsidedly cut chairs sliding a collection of dice across a crooked table with machine-like precision, the two are magnetic and they rise to the challenge of Hughes’ script with fearless fervour.
Despite its convoluted storyline, Claddagh Productions’ The Greatest Play of All Time ties together seamlessly. With overall design by Charlotte Maggs beautifully complemented by original music and sound design from Sophie Bokor Ingram, then layered with the brilliant writing, direction and performance, the quality of this production exceeds other much more highly financed and resourced shows playing in the west end right now. And, with tickets on sale at just £15, this is undoubtedly a show worth cheating on your TV for.
Written by Robin Hughes
Music by Sophie Bokor Ingram
Design by Charlotte Maggs
Produced by: Claddagh Productions
This review relates to the show’s run at Old Red Lion Theatre in March 2024. The show returns for a new run at King’s Head Theatre from 2 – 6 July. Tickets and information here.
