A Role To Die For

With so much interest around the next Bond film, Jordan Waller’s play has a very timely transfer from The Barn Theatre, Cirencester for a five-week run at Marylebone Theatre. Speculation is rife as to who might be the future 007. Both in this play and in actuality. With such a hugely popular brand it is inevitably important to avoid too much direct comparison to the Broccoli family itself. Partly I’m sure for legal reasons, but also to create a scenario that parodies both Bond himself and the frenetic search. Turning it into a broad and at times, laugh out loud comedy. However, when it references the previous Bond greats it adds a level of recognition that is undoubtedly funny and at times clever but creates an awkward mix of fact and fiction.

Deborah, played with relish by Tanya Franks is the brash, domineering, unforgiving head of the family-run franchise. She is supported by her cousin Malcolm (Philip Bretherton) who is forever on the edge of a nervous breakdown which Bretherton revels in accomplishing. When the pairs initial plans are scuppered, and their proposed actor is suspected of being a paedophile. Both find great comedic moments in the mayhem that ensues.

Completing the family firm, and in the end coming up with what seems the solution to the casting, is Deborah’s son Quinn (Harry Goodson-Bevan). As intern he is offered a role as producer but is far more interested in travelling abroad to do a documentary with his current boyfriend. His character is most complex and transformative which Goodson-Bevan taking every advantage to develop both. He is the voice of reason in a whole world of insanity.

When most A list film stars turn them down the threesome are left with two possibilities. Richard (Peter McPherson) an archetypal fit for the statistically accepted ‘look’ of Bond, proposed by Malcom. And Theo played by Obioma Ugoala a black smoothly spoken unknown who makes a mean line in blue martinis, proposed by Quinn. This radical new choice for 007 is further crippled when it’s discovered he is gay. Ugoala plays this with a lovely sense of boyish enthusiasm.

Here I feel is where this play is problematic. Anyone with only slightest knowledge of James Bond knows how problematic the machoistic life he leads in the films is. At odds with today’s attempts to be more inclusive. It feels wrong that an audience is led to find it hilarious to contemplate even the possibility of having a gay 007. Even the resolution, where both actors could be offered roles with in the new take-over franchise by an Amazon style multi-millionaire, only goes part way to resolving this issue.

With slick direction by an appropriately named Derek Bond, this production pleases and creates some extremely funny moments, but it’s broad almost sit-com style humour lacks the depth to hold a mirror up to its subject matter. And as a result, becomes less satisfying as a complete production.


Photo credit: Steve Gregson