Lights up for Grave Mistake in The Hope, and we are treated at a brisk pace to the day-to-day frustrations and irritations of protagonist sisters, Regina and Harriet. Their relationship is crystal clear from the off, thanks to the fine characterisations and comic timing of Gabrielle Nellis-Pain, who pitches the role of Regina artfully somewhere between the apoplexy of Basil Fawlty and the mischievous debauchery of Withnail.
In contrast, Laurel Marks brings a more grounded, authentic presence as the reliable and ever put-upon Harriet. As siblings, they are chalk and cheese: one a manic dreamer, bursting with energy and grotesque ideas on how to expand the family funeral business; the other a classic ‘straight man’, desperately trying to hold the foundations together whilst juggling the increasingly preposterous requests of her sister.
Cue the arrival of a delightfully dim intern – expertly crafted by Gabriel Fogerty-Graveson – whose childlike innocence draws not only belly laughter but the occasional pantomime ‘aww’ too. Finally, the show is boosted by the magnificently multi-roling Molly-Rose Treves, who moves skilfully through a grubby delivery person, a wailing widow, a stuck-up toff, and most memorably, a slightly obsessive-compulsive reverend. Each part is transitioned with skill and an obvious glee at being given such a rich opportunity as an actor.
The set is impressive and a credit to the production team, who have clearly put time and energy into making us feel like a fly on the wall in a believable Burke and Sons.
Director and co-writer Toby Hampton wrings consistent laughs with excellent pacing, clearly encouraging the actors to ride that tricky farcical line between playful and precise. It fully pays off, as we are treated to a cast who have a permanent glint in their eye and a clear appreciation for the quality of the script.
The writing, in fact, is one of the major victors here – clearly drawing inspiration from shows such as Fawlty Towers, Father Ted, Blackadder and, at times, even the twitchy-eyed madness of Bottom. It is to writers Matthew Ballantyne and Hampton’s credit that within minutes, it feels like watching a staged version of a well-known TV episode.
The characters slot in perfectly as beautifully recognisable archetypes, fulfilling classic tropes and motifs as only the best comedy series characters do. We know them, we can predict their stupidity, marvel at their flaws – and we lap it up with satisfaction when it all pans out in a dizzying storm of fraught chaos.
A good farce should put its protagonists through the wringer – and by the time Grave Mistake wraps up, Regina and Harriet are absolutely squeezed dry.
A production that, in the best possible way, feels like it rolls back the comedy years to a time when they really knew how to ramp up the action. Not to be missed – Grave Mistake not only deserves to sell out, but could also do very well on a larger stage.
Listings and ticket information can be found here.
