The Ladykillers ***

The Cast of The Ladykillers. Photo credit: The Guardian.

The Ladykillers was originally a story dreamt up by Bill Rose which has required a mighty reimagining for the stage by Graham Linehan. Michael Taylor’s set has accomplished this transition excellently, deserving an ovation of it’s own. Wonderfully quirky, whenever a train passes it comes to life as if possessed by poltergeist stage hands, and the heist is represented by remote control cars reflecting this show’s childish character. But it’s this denial of any realism which detracts from the show being as funny as it has the potential to be. Five thieves, posing as a string quintet, ‘rehearse’ their plan in a little old lady’s house (played delectably by Marcia Warren). Of course it all goes wrong, because good must defeat evil. As One Round (Clive Rowe) gives the game away, they must bump off the old lady, but would rather kill each other than her.

The original substance of the story, reflecting the spirit of post-war Britain, is lost upon a contemporary audience; what the character stereotypes once stood for, are no longer applicable. I don’t associate One Round with any oppressed, used masses; he is simply as dumb as he is played, and therefore feels like nothing more than a device. Similarly, Peter Capaldi seems to be playing a vampire, otherwise known as the cartoon villain (it’s a wonder he hasn’t got a moustache to twirl). Notably, Ben Miller’s character, Louis Harvey (a Romanian gangster) is laugh at loud funny as he actually addresses the reality of the situation: of course the old woman is irritating for the robbers, and the comedy out of place. This cast of established comedic actors are more than capable of subtlety, their timing and teamwork is so precise, and shine as individuals too - yet their performance dampened by their seemingly being stuck in an old world comedy of less sophisticated values. Ben and Max Ringham’s music however, is a significantly shining element of the show, enhancing their performance through individual string lines signifying each character, and punctuating the laughs.

This doesn’t mean The Ladykillers isn’t hilarious. The slapstick is pure choreography; there is an exquisite moment when the only place they can hide on set is squeezed together in a tiny cupboard obviously, and only Rowe could play a cello like a violin. It is the sort of comedy which borders on crazy, and needs no explanation. Capaldi’s mad professor is also bestowed with genius one-liners, including ‘being fooled by art is one of the primary pleasures afforded to the middle classes’. It’s a shame I wasn’t so fooled. Linehan’s jokes can be repetitive, and therefore lends the characters little three-dimensionality. Stylistically, it is a superb play, yet Foley’s direction also lacks balance with a necessary suspension of disbelief from it being so heightened.