The reliance on phone conversations to convey the storytelling can become frustrating, diluting the show’s unpredictability. But these characters ... wear their hearts on their sleeves and just want to do good. You’ll wish you could join them in their hijinks.
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In lieu of character progression, events become increasingly manic and overblown as the play progresses, leaving its most fertile dramatic terrain – the everyday poignancy of the two divorcees’ lives – in its wake.
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Lipkin brings an odious impervious swagger to Brian. And a bearded, bespectacled Skinner is cryingly funny as the decent, defeated Roger ... Emblemising not so much the state as the total disarray of men today, it’s arguably more bitingly topical than anything found at the Royal Court.
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Either you’ll respond to the don’t-give-a-monkey’s audacity on show here or you won’t. Babani’s production really doesn’t feel like a play, but it doesn’t feel like anything else either. You have to suspend disbelief.
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Skinner and Peacock write sadness and pain so well, but frankly it’s often difficult to laugh at and, as the subtitle suggests, might easily offend.
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So although this is a lively evening, deftly directed by David Babani to use his venue’s small basement space to its full potential, its raucous ambitions aren’t a perfect fit for its characters' comic potential.
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