Simon Manyonda appears in Orange Tree Theatre’s major revival of Peter Shaffer’s Black Comedy, directed by Caroline Steinbeis. The classic farce sees everyday social pretence unravel when a sudden blackout exposes secrets, lies, and fragile egos.
Best known for stage work at the National Theatre, Donmar Warehouse, and the RSC, as well as screen roles across television and film, Manyonda joins a cast bringing fresh energy to Shaffer’s razor-sharp comedy.
Black Comedy runs from 16 May to 11 July 2026 at the Orange Tree Theatre in Richmond, with a press night on 27 May. Tickets are available to book here.
You’re starring in Black Comedy at the Orange Tree Theatre. What can you tell us about the show?
Black Comedy is a farce set in 1960s London written by Peter Shaffer. It’s such a well written play, full of not only slapstick humour but also pathos that drives the action and grounds the interplay in the social and sexual politics of the time.
You’re playing Harold Gorringe. How would you describe this character and where does he sit within the chaos of the play?
Harold is a man who has lived much of his life in hiding and so, ironically, is used to navigating and manipulating darkness.
He is the antagonist of the play and holds a finger on the domino that can collapse the entire pattern.
Black Comedy famously flips ideas of light and darkness on their head. How has that concept shaped the way you and the company approach the storytelling in rehearsal?
The given circumstances of the play mean that the physical life of our characters has had to be heightened. This has meant that much of the character building has been done from the outside in.
We have been working with a brilliant clowning expert called John Nicholson. Personally, I have found that many of my storytelling inspirations have been the result of clowning exercises that he set for the company.
This production brings together a company with strong backgrounds in farce and physical comedy. What has it been like working within that ensemble?
It’s been a real gift to work with such confident performers. It has meant that bold choices are welcome and matched with creative offers.
What do you think audiences might be surprised by when they see this revival of Peter Shaffer’s play?
If people are familiar with the play or have seen it before, I think they will be surprised by the truth we uncover in Shaffer’s play that earlier productions would not have been able to touch upon.
What would you say to anyone thinking of booking to see Black Comedy?
You’re going to have a right laugh!
