Review of ‘The Double Act’: “One was already enough”

The Arcola Theatre welcomes Mark Jagasia’s latest play, dealing with the awkward reunion between the members of a former comedy duo, as they must face the consequences of a darker past they can’t escape from anymore. Guillermo Nazara shares his views on the show, to let us know if its whimsical but poignant plot line is even more camp and wise than it looks.

We all need a good laugh once in a while. I, for example, use the nudes I get on Grindr for that purpose. But, of course, we can also rely on older techniques such as going to the theatre and hope for a performance that will put a smile, instead of a smirk, on our faces. Have I been successful in that regard lately? Well, that’s for you to find out below – you thought you were already off the hook? Try again, babe.

And what speaks hysterical humour more than a story about two old friends reunited for the first time after many, many years after one went left the other behind to become one of the most celebrated comedians of his generation? I’m not being sarcastic. I know that’s how you picture me – bitter, bitchy, savage, intense, dominant… I’m still checking Grindr. But moving back to my subject (his name is Ron), and now, to today’s play, the potential this premise holds is, by far, one of the most promising I’ve seen in this genre lately.

I really wanted to like it – that I can honestly promise. The start was not the strongest, but a few amusing jokes followed – and for a moment, a hint of brilliance flashed through the stage. There was so much to exploit in that story: a seemingly naive, camp overlay to masquerade the dark basis of its narrative. It had every chance to be absolutely genius. Sadly, though, none of that ever happen. And it the most ominous way, a sense of dullness and disappointment overtook the entire rest of the matinee.

I’m aware those are harsh words. But I also believe them to be accurate – especially, when an idea has so much to offer and practically all of it goes ignored. Author Mark Jagasia has come up with such an enticing concept – but wistfully, his decisions in terms of style and elaborateness result in the opposite effect. Overall, the dialogue has flow, and the themes suggested throughout the script are highly compelling. But that’s all the applause it gets, as all of the remaining key components struggle to bring anything else than a persistent feeling of boredom and laziness.

No matter how hard the cast tries (who, by the way, are the production’s sole salvageable asset), it very rarely looks or sounds funny at all. Everything is too obvious, too formulaic – constantly pushing for giggles, but barely getting more than those the audiences are forcing themselves into. There’s such little originality in them, and absolutely no element of surprise. None of their lines exude wit or sharpness. And even when they go for a droller approach, the fact that it never comes as organic prevents the humour from ever landing.

With a predictable delivery, unresolved structure, and scarce cohesiveness, The Double Act provides viewers with a single-featured event – where no redeeming factors other than the company’s chemistry and commitment are brought under the spotlight, and where the curtain goes down before it’s ever brought up when it comes to its satire and entertainment qualities. It’s truly a shame to see how the germ for something so up-and-coming ends up falling down because of such sloppy handling. It had the opportunity to be powerful and authentic. Instead, it decided to be a mirror of its weakest self.

All pictures credit to Alec Brenner.

The Double Act plays at London’s Arcola Theatre until 22 February. Tickets are available on the following link.

By Guillermo Nazara