Review of ‘Handbagged’: “‘Diana’ led the crash”

Moira Buffini’s 2010 political farce returns to the London stage in a new limited running production currently playing in Hornchurch. Guillermo Nazara shares his views on the show, to let us know if this comical battle royal between Queen Elizabeth and Mrs. Thatcher manages to conserve enough wit and pungency.

It’s not a thrilla. It’s not Manilla. But, boy, was I hoping for a cameo appearance by Camilla. If you’re familiar with the infamous Broadway travesty that managed to creep into our TV screens months before its own opening night (Netflix should have granted a lifelong subscription to all those who made it to the end…), you can foresee where this review is heading – and how much we could wish for a particular show to get off the road (no pun intended).

Diana managed to make it to the London scene. Apparently, audiences here loved the way Americans believe British people talk and act. And so, this concert counterpart proved to be better than a Guinness, better than a w*nk; and definitely, to put money in the bank. There was a big difference, though – perhaps, the most important of them all: everyone in this version understood that it was not something to be taken too seriously; or to give it any importance at all.

Following a similar trend, Hornchurch’s Queen’s Theatre opened last night its latest production, Handbagged – a revival of the allegedly hilarious farce depicting several audiences between the now both lost (but probably only one greatly missed) Queen Elizabeth II and former Prime Minister Margaret Thatcher. The premise is a instant hook – at least, to me. Who can resist a good spoof starring two of the greatest political icons this country has known in the past and present century? The problem, however, is that this is not one of those.

Written by Moira Buffini, the play takes us on a historical journey through the legacy of Britain’s two most powerful women of their time. They’re not fond of each other – or so rumour says. Yet, they stood by each other’s side for way over a decade. There’s so much potential in that last couple of sentences – so many opportunities for a bitter, sharp, and witty observation about the ingrains of the governmental status quo. None of that materializes, though. Instead, all that we get is a shallow, cliched, and rarely entertaining reenactment of historical facts we don’t need or want to see onstage – at least, not in such a dull way.

We simply can’t engage with a narrative that doesn’t present itself as such. Instead, it feels closer to a school assignment where students decided to go for a dramatic approach – but that’s merely it. There’s no rhythm, no cohesiveness other than its rather unsavory meta-theatrical framework, and the characters’ arcs fail to build themselves up almost entirely. Apart from the cast’s noticeable efforts, there’s no substance lying underneath its often tired jokes and overly predictable lines – leaving us, from the start, with a sense of apathy that’s very unlikely to improve at any point.

We can still laud the company’s usually enjoyable portrayals – with all the leads delivering spot-on performances of remarkable accuracy. Among them, Helen Reuben and Emma Ernest give the most praiseworthy renditions as the younger Lizzie (all my fellow queens are besties) and Maggie (Elton John says Merry Christmas) – playing their personages not only with extraordinary precision in comparison to the real-life equivalents, but complete understanding and internalization of their essence. An additional mention is deserved by Gerard McDermott in his multi-role interpretation – in all of them, oozing charm, presence, and poise, as well as a refreshingly organic comedy bone.

The Russian didn’t play on and on like an endless thelethon – nor did the Prince go funkadelic. It wasn’t required either – its use of uninviting and even more unjustified pop anthems as scene transitions, along with the bland dialogue and uninteresting storyline did the trick anyway. Shallow, unimaginative, and wistfully unmemorable, Handbagged is a satchel mouth of ideas that, had their been honed into something more piercing and introspective, could have achieved utmost brilliance. Unfortunately, in an unintended analogy to the Iron Lady’s most undesired repercussions, the only appeal it strikes comes as a minor part.

Handbagged plays at London’s Queen’s Theatre Hornchurch until 22 February. Tickets are available on the following link.

By Guillermo Nazara