The pre-performance buzz at the Marylebone Theatre hinted that this production would be something special – and it was. With James Barry’s James Bond theme song playing as the theatre seats filled, and the stage set with five portraits of former Bonds – Connery, Craig, Brosnan, Dalton and Moore – this could only be set for a Bond enthusiast, or a nepo baby of the Bond franchise.
Meet Deborah: an outspoken, no-nonsense producer on a mission to find the next James Bond. Her challenge? She only has 22 hours to find one. Working with her flappy cousin and co-producer, Malcolm, and her borderline neurotic son, Quinn, the trio embark on a search that forces them to confront their differences of opinion and ultimately grapple with the choice between upholding the demands of the studio while chasing money, or upholding and chasing their own integrity.
The marvellous Tanya Franks as Deborah and Philip Bretherton as Malcolm are a dynamite pairing – throw Harry Goodson-Bevan as Quinn into the mix and you’ve struck gold. The trio’s comedic timing creates a hilarious, witty and explosive dynamic. The casting works brilliantly, and the stage chemistry is magnetic. I’m mightily impressed by Franks’ ability to keep it together throughout manic screaming fits, choking, and sexual innuendos – I salute you! Obioma Ugoala , as a late addition to the story, Theo, is equally exceptional. He has a natural charisma on stage and adds a tenderness to the story that is beautiful and feels so authentic, whilst also offering some brilliant comedic relief. This cast is certainly noteworthy.
Naturally, this is a play filled with overt nods to the Bond franchise, which could have been overkill – but the audience, me included, clearly appreciated them. From five of the former Bonds’ portraits hanging in Deborah’s office, with ‘our Lord and Saviour, Sean Connery’ front and centre, to the Martini cupboard and the gun lighter, this is certainly a play for those who prefer their Martinis shaken, not stirred. Bond and film lovers galore – this play is for you.
Whilst this play is largely a comedy, it grapples with themes such as queer, cultural and racial identity, proving that there is a depth to this story that is perhaps initially overlooked. Quinn is a young, open-minded and progressive queer man, Malcolm is a closed-minded old-schooler, and Deborah sits in the middle – or maybe she just sits wherever the money is. A Role to Die For is a superb production upheld by the supremely talented and dynamic cast and crew. A special mention to Jordan Waller and Cory Shipp for their respective writing and direction, which were excellent – this is a stellar production.
