Review of ‘BIGRE / Fish Bowl’ (Le Fils du Grand Réseau): “Wavering humour ends up tanking onstage”

Following its successful Edinburgh Fringe run and subsequent tour, the Molière Award-winning comedy makes its West End debut for one week only at the Peacock Theatre. Guillermo Nazara shares his views on the show to let us know if it either swims in amusing qualities or instead leaves audiences fed to the gills.

I’m wondering if what I’m about to write will increase international tensions. I’m not trying to launch an offensive, but I certainly don’t have too many compliments in my arsenal. They haven’t provided me with that ammunition, after all.

Fish Bowl may have enjoyed some popularity in the fringe circuit, but in the West End, it feels slightly out of water. Might I be the only one to think so? Perhaps. Last Wednesday’s press night was inundated with laughter. None of it came from me, though. And as much as others may have giggled, or even roared, I highly doubt they’ve found anything fin-tastical in it.

The title is a metaphor, however. The show has nothing to do with scaly creatures, although one of them will suffer the severity of its slapstick genre, in all its glory. So will the audience. Ultimately, that’s all it is: an endless array of physical stunts with very little substance and a lower ability to impress.

They’ve tested the water — but they did so many years ago. Others did. Consequently, all those ideas might have dried out. There’s nothing original about it, and everything in it is extremely predictable.

There’s nothing wrong with an absurd comedy. It’s a genre that shines like no other when done properly. This one doesn’t, nonetheless. Formula after formula, there’s nothing remotely amusing apart from some fortuitous chucklesome moments, whose reaction is rarely triggered and usually forced as a coping mechanism.

Every skit can be seen coming from a mile away — suffice it to say that it never walks the extra one. It might be physical humour, but that shouldn’t reduce it to a humdrum of tired, repetitive gags with next to no surprise value. You don’t need lines, but you surely need some punch. And for the most part, this one only does it below its weight.

As a result, the performance grows duller. Its scarce interest comes from its thin narrative thread, where the lives of three next-door neighbours intertwine through the most tangled situations. Although the idea is solid, it doesn’t solidify into anything half entertaining. You can’t deliver a silly act without putting twice as much intelligence behind it. Otherwise, it’s just silly to act it. And this one obviously is.

The cast counterbalances those issues to the best of their ability. Admittedly, their rapport is extraordinary, and so are their portrayals. Their entire rendition flows seamlessly, and every number is put together with great ease, adequate register, and compelling command and stamina.

The staging is the second and last element worth acknowledging. The design is unexpectedly intricate for the kind of piece it serves. There’s a pleasant level of attention to it. However, its the smoothness of its scene transitions, combined with the use of traditional, practical techniques, that really makes the set standard out. There’s nothing overcomplicated about it, but no aspect of it hasn’t been taken care of. And that’s enough to be applauded.

Too soft when requiring edge and exceedingly over-the-top when needing to tone down, Fish Bowl turns its comedic intentions into anything but a splash. There’s little hook to it other than its poorly implemented germinal idea. Once that initial bait is swallowed, you may find yourself drowned in unfunniness. And it may keep sinking.

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All pictures credit to Fabienne Rappeneau.

Fish Bowl plays at London’s Peacock Theatre until 31 January. Tickets are available on the following link.

By Guillermo Nazara