Review: Black Comedy

“The Darkness must bring out the dominance in you,” quipped the rather irate Harold Gorringe. Indeed, in Peter Shaffer’s Black Comedy (dir. Alasdair Bird), the darkness, brought about by a blown fuse, brought out the crumbling of our protagonist’s marital aspirations – albeit hilariously – but, most importantly, provided an evening of entertaining, frivolous fun.

To briefly summarise, the one-hour farcical comedy saw Brindsley Miller (played by Andrew Chalmers) attempt to woo the nasal Carol Melkett (Catriona Grew) – with most of the humour arising from his failures. Brindsley, a struggling artist, was attempting to win favour from his potential future father-in-law by selling one of his sculptures to a millionaire art collector (Scott Wilson).

Dark symbolised light in this play of contradictions; that is to say that when the audience noticed dimming stage-lights, the characters themselves recognised their brightening. This reverse lighting scheme successfully created the required farcical air of confusion, which was complimented by confusing scenes occurring simultaneously. At this point, Alasdair Bird’s direction must be commended; the selection of stage leveling was well thought out. Moreover, in many instances, this leveling scheme combined well with dual scenes – such as Brindlsey’s with Clea, who was played by Annabella Fraser. This particular scene was a highlight, as the pair’s inconvenient declarations unfolded whilst the former’s potential father-in-law and fiancé resided unwittingly above. From his complete ignorance to Gus’s humorous collapse from the replaced rocking chair, to encountering Miss Furnival’s head upon attempting to hand her a drink; comically, the scene in which Harold’s furniture was replaced was among the strongest – as testified by the audience’s response.

This strength, owing much to the cast, came from the distinct characterisations of each character. Andrew Chalmers’ interpretation of a man unable to see, quite literally, maintained a nervous comedic energy throughout. Gus Haynes likewise gave a consummate performance as the Colonel; a great example of character acting. However, the standout performer was Cody Dahler, whose flamboyant, magnetic, and hysterical presence beckoned laughter before he’d even stepped out onto the stage. At this point, special mention must be given to Meredith Rowland’s makeup artistry; she especially created a miraculous grey moustache as well as a head of hair.

Black Comedy was ultimately a well-executed, fast-paced farce, bubbling with slapstick humour, and (not too) excessive innuendo, but that was all. Whilst it failed to push any theatrical boundaries, and at times seemed to lag, it brightened up a dreary Tuesday evening, and in that sense, did exactly what it set out to do.