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In the world of James Bond, image is everything. So when producer, Deborah, has to choose a new actor to take on the iconic role there can't be a whiff of scandal. But then, just when she's about to announce her selection and publicly sign the contract, something comes up. Although shaken, Deborah is now stirred into action. She is determined to find a new Bond before the signing. That's how all this extremely enjoyable chaos begins. As the ruthless and hilarious producer, Tanya Franks puts in a wonderfully satisfying performance. The tiger mom and hard-nosed business woman is a character we all enjoy as long as she stays on stage, and Franks plays it to perfection. As her partner and frequent dupe, Malcolm, Philip Bretherton also gets it just right, and Harry Goodson-Bevan does a fine turn as her socially conscious gay son. The timing of the whole cast is impeccable, but in the end, it all comes down to Franks, and she carries it off beautifully. We might sympathise with Deborah's passion, but we equally relish her discomfiture and comeuppance. Jordan Waller has written a very funny piece with a delightful showcase role, but A Role To Die For also gives us something to think about. It raises some provocative questions about both the problematic attitudes of some of our historical and literary role models such as Bond and about our attachment to them. We are challenged to accept the necessity of their, and our, evolution if we are going to create an inclusive society. Not unsurprisingly, all of this is made more complex because of the huge amounts of money involved, but it's rather refreshing to have these thorny social questions wrapped up in a play that doesn't preach to its audience. A Role To Die For is perhaps the most amusing peek behind the show business curtains since Mel Brooks' The Producers!
Rated: ★★★★
Reviewed by J.C.
Photo by Steve Gregson
When, Where, Getting there:
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