Review of ‘TWO’ (Park Theatre, 2026): “Intoxicating comedy serves audiences a bottomless round of laughter”

Following its inaugural run at the Greenwich Theatre, the latest revival Jim Cartwright’s spirited play transfers to the Park for a limited three-week run. Guillermo Nazara shares his views on the show to let us know if it should be given both barrels.

It’s been over 20 years since Jim Cartwright’s play raised a first glass to the hundreds of stories living inside a working-class pub. Nothing much has changed ever since. And whether it’s a goofy, lonely old woman finding her only joy and consolation in a pint of black Guinness or a dorky Northerner couple with Dirty Dancing impulses, the characters are still relatable. It’s our reactions to those depictions that might have changed. Some of them, at least, should have.

For the most part, Cartwright’s writing has aged like fine wine. Probably not of the highest degree, but still offering us an enticing, effervescent flavour that lingers in the palate and quenches our thirst for humour and storytelling. Absurdly droll and deliciously sarcastic, the script demonstrates ample comedic skills without sacrificing poignancy, which might come across as forced in some segments but overall proves effective.

With a Fawlty Towers-esque framing, a middle-aged couple run this cosy venue where everyone is invited — especially the audience. The production plunges viewers into its universe by transforming the auditorium into a surrounding atmosphere, where the boundaries between reality and fiction are completely erased.

Empty chairs at empty tables await to be filled by spectators taking on the roles of customers. For those shaking upon reading that last line, they can sigh in relief knowing that the interaction is minimal. Similar to a haunted house ride, but thankfully not horrifying us with their renditions, the characters will mingle and make those around them feel part of the experience. However, you won’t have to reply when you’re spoken to — just take the incessant banter you’ll be crushed by with as much dignity as you have (I know, I know…).

Devised as a choral narrative made of comedy sketches, the play moves at a generally steady pace. Every skit is properly structured, and most personages resonate on one level or another. There’s the messy drunk woman who always arrives five minutes before closing time and who can’t stop falling for married men; the little boy- played by a middle-aged performer- forgotten by his own dad outside the pub; and of course, the oblivious couple who lament they’ve never been the same since Elvis died.

Although most sections are extremely enjoyable and brim with uproarious elements, revising some excerpts is imperative. The script takes on a more serious tone during Act Two, where a controlling husband abuses his wife both physically and psychologically. Gracefully, not a sound could be heard in the audience apart from their understandable discomfort. That’s obviously not the problem. The fact that reversing those roles, as they did in the first half, immediately becomes a laughing stock is.

The title holds no secrets. A play called TWO can only be a two-hander. Both Kellie Shirley and Peter Caulfield display extraordinary chemistry and comedic timing in all their portrayals, supported by their overall flair, naturalness, and range.

Caulfield earns the highest praise due to his remarkable transformational abilities, going through a complete metamorphosis from one role to another, where no traces of himself or a previous character can be found. Shirley’s interpretation isn’t too far behind, but her execution isn’t quite as chameleonic.

In addition, the closing scene, where the protagonists are afflicted by a terrible incident from their past, doesn’t teem with as much pathos as it should. A minor flaw in the script’s dramatic cadence is part of the issue. Yet, Shirley’s flatness- surprisingly, the only time when she exhibits that deficiency -compromises its impact. It doesn’t seem like she’s actually suffering or trying to compose herself. And consequently, its heartlessness takes over.

Some elements of it are no longer on draught. However, Cartwright’s quick wit and moderate introspection keep this piece at the top of the barrel. Competently beering from humorous to tragic while always preserving a cheerful undertone, the show guarantees a free round of amusement for each and every punter. And some of them might even end up on the lash.

TWO plays at London’s Park Theatre until 25 April. Tickets are available on the following link.

By Guillermo Nazara