Review of ‘Double Act’: “Twice as good as you’d expect”

The Southwark Playhouse welcomes this two-hander exploring the experiences of a young man going through the strains of adult life. Guillermo Nazara shares his views on the show, to let us know if this unique portrayal on mental health issues leads out to a divisive outcome or serves as an estimable addition to the London scene.

All the world’s a stage, and all the men and women merely players. And more often that not, we regard our own journey as a clowning act. A few weeks ago, I bumped into a striking video on social media – so much that I immediately subscribe to his OnlyFans. But there was also this interview with a psychologist, where he stated that the funniest people are usually the ones that have had it the hardest. That’s what humour does – it takes. Because the grief of our everyday struggles – and sometimes, it becomes the perfect means to accentuate the importance of our personal tragedy.

I was cautious about what I should be expecting at the Southwark Playhouse last night. Not only did the title not offer too many clues, but the last show I saw also going by the name of Double Act was, to put it mildly, a multiple disappointment. My feelings did not change by the time I got to the auditorium. A simple staging featuring a guignol-style proscenium and a white-coated floor didn’t give away any hints of grandeur coming up. But then, the performance started.

It took a while to realize and understand what type of piece I was watching. Two random guys pop out of nowhere, wearing identical tracksuits and unpolished jester makeup. Alright, then – here we go again… My initial rating was not too good. Yes, there were some entertaining bits, and some line were fairly amusing. But that was pretty much it. A few minutes later, though, something started to click – and it kept doing so, and elevating itself, until it reached the most stirring climax.

Written by Nick Hyde, this Double Act is a marvelous example of what good theatre can really do. A couple of actors swapping the protagonist role, while also playing other different characters, build up this beautifully constructed narrative exposing, among other themes, the trials and tribulations that young people (particularly, males) go through nowadays in terms of mental health and self-esteem.

It’s a story that we’ve heard a million times. And yet, Hyde’s writing, along with director Jef Hall-Flavin’s conceptual approach, manages to make it extremely refreshing – as well as tremendously clever. It is as gripping as it is relatable. And its satirical take through most of the recount just adds to the strength and poignancy of the work as a whole.

There’s not much that can be said without giving the plot away. So I’m totally going to do it! Got you. But let me just say that we’ve all been in those situations. We can all see ourselves reflected in this tale in a way not many other plays allows us to. And we can’t help but feel compelled, touched, and completely invested in the personage’s plight; even during his shittiest moments – literally (you’ll understand when you attend).

As for the cast, both actors give extraordinary portrayals – exuding absolute chemistry, presence, and arousing magnetism. Starring Hyde himself next to Oliver Maynard, their renditions are executed with impeccable flair – bringing out such a degree of truthfulness and sincerity, their heartrending power just cannot be ignored.

Some shows are built on promises. Some others are all about the surprise. You would never think that spoof-looking two-hander could ever be as piercing and haunting. And yet, here we are. Put together with care, sensitivity, and craftsmanship, Double Act lands on the London scene as a pleasant shock, whose electricity keeps lighting us from within long after discovering it. Many pieces are bound to fade away upon its initial run. There’s no doubt, though, that for this one it is only the beginning.

All pictures credit to Tanya Pabaru.

Double Act plays at London’s Southwark Playhouse Borough until 5 April. Tickets are available on the following link.

By Guillermo Nazara