Review of ‘Da Vinci’s Laundry’: “Farce forgery fails to deliver a comedic renaissance”

London’s Riverside Studios welcomes this new play inspired by Leonardo’s most expensive painting and its disputed authenticity. Guillermo Nazara shares his views on the show to let us know if this crazy depiction of the fine art industry is able to raise more than a Mona Lisa smile.

I must say it’s been a while since I’ve felt so connected to a character — or at least, experience a similar journey of frustration. Those are art dealers who were approached to examine and sell an allegedly genuine Da Vinci. I came to the theatre with the hopes of reviewing a hysterical comedy. But it seems like the wool has been pulled over our eyes on both occasions. In all fairness, it was actually a comedy — just not that funny. And I did have an episode of hysteria, but of another kind.

Da Vinci’s Laundry has docked on Riverside’s Studio 2 for a full October run. The current Halloween season might not play to their best advantage given the piece’s intended tone —though its heavy-handed humour might spook you anyway. Presented as a farce, the show uses every ingredient in the old formula book to deliver the blandest concoction one could possibly imagine, where all the roles are reduced to one-dimensional archetypes and every joke scores as high as Megan Markle’s popularity.

Writer Keelan Kember can seek redemption in his ability to craft an entertaining storyline. From a narrative perspective, the recount works. I was fully invested in finding out whether that suspicious oligarch with an Austin Powers villain accent was up to any good. And I admit that the Arabian Prince with zillions of pounds (probably, the ones I’d need for him to become my sugar daddy) had me at the edge of my seat as I watched him plan his cold-minded revenge.

Yet, the script’s struggles to achieve any decent level of sharpness and drollery is what tarnishes its overall quality. Beyond those basic plot elements, nothing else comes across as remotely amusing — let alone enjoyable. On the whole, it is a very methodical and uninspired creation. It parts from a relatively good idea, but it’s executed in the wrong sense of the word.

None of the punchlines is effective. You can see most of them coming from miles away. And when you don’t, it’s never a pleasant surprise. The dialogue is, in fact, rather clunky. There is flow, but only to a moderate extent. And even so, there’s a persistent layer of artificiality that never sheds away. Consequently, the material’s naturalness is compromised, and so is the audience’s response to it.

We can still acknowledge the effort the cast puts into their performances, all of which exude adequate comedic stamina. Nonetheless, there is a minor lack of chemistry that prevents that humorousness from going any further. All the portrayals carry a strong drive with them, but their poor understanding of timing and complete absence of nuance erase every chance for additional jest. Sadly, those aren’t sacrifices that this play can afford.

Eleanour Wintour’s design is the indisputable winner of the night. A simple white-box set embellished with a few blank panels serves as the show’s setting. In the center, an open door leads to an ever-changing space, guiding us from one scene to another. At the start, a golden balloon dog indicates that we are in an art gallery. Make it fly into the rafters as Jack Hathaway’s evocative lighting shifts, and we’re suddenly peeping through the balcony of a Russian mogul while fearing for somebody else’s life. It all comes together with refreshing theatricality. And at many moments, it’s the only reason to keep paying attention.

We can appreciate some of the cultural tips Da Vinci’s Laundry provides us with. We can also give credit to its premise’s modest solidity. Nonetheless, its potential for a hilarious recount about fine-art fraudsters comes through in the most discouraging way, with its laughter barely materialising as an odd, fake chuckle. With the right restoration, it could evolve into a ravishing picture of comedic genius. So far, that skill is at a sfumato state.

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All pictures credit to Teddy Cavendish.

Da Vinci’s Laundry plays at London’s Riverside Studios until 25 October. Tickets are available on the following link.

By Guillermo Nazara