Review: A ROLE TO DIE FOR, The Barn Theatre Cirencester
Photo credit: Alex Tabrizi
The last edition of the James Bond film franchise, No Time To Die, in which Daniel Craig played the role for the last time, was released in 2021 and there has been much speculation ever since of who would replace him and when we would see the twenty sixth Eon produced film. The original producer’s family still retain creative control even though the films were acquired by Amazon when they bought MGM Studios. This is the springboard for Jordan Waller’s new play, although he is careful to point out in the programme that the characters in the play are “legally distinct from Barbara Broccoli whose person, team and family, I’ve never met” and we are asked to suspend disbelief and assume we are watching a casting process in another dimension of the Bond Multiverse.
The script borrows deliciously from the dimension that we are familiar with right from the start with the iconic music, five pictures of past Bond actors and a wonderful bullet hole shaped spotlight across the stage. Throughout the play, there are lines that sound like they resonate from past films, and it prompts a nostalgic recollection of scenes from them and the stars. When they want to dump an actor, it is suggested that they just “Lazenby him”. But what makes this play interesting and relevant is that it explores two themes at the centre of the real-life challenge of long running film franchises. Is it about creativity and innovation or protecting the brand legacy and heritage or just plain commercialism, making the most money and is it possible to deliver all three? In this context, the second theme that the play naturally goes on to explore is Bond’s reputation as a white philandering misogynistic killer against the modern casting trends for diversity and inclusion and concerns about mental health.
The decision on reconciling these dilemmas lies with Deborah, the creative copyright owner and producer who is wonderfully played by Janie Dee. She struts the stage in her stiletto heels determined to protect her father’s legacy and melts wonderfully with the slightest of nuanced movements as her favoured candidate for the role mixes a Martini. Opposite her is Malcolm, described at one point as a "dithering old timer” and obsessed with his algorithm that assesses the public appeal of various actors. Philip Bretherton presents the commercial argument for casting with a weary expression but with lovely comic touches as he grapples with a bean bag. The third argument is presented by Deborah’s son, Quinn, who she wants to make a full producer by symbolically presenting him with her father’s 1954 Rolex submariner watch (and therefore attracting the criticism that he is a “mediocre nepotism baby”) and wants to modernise the appeal of the character through the casting.
When the intended new Bond is cancelled following allegations of being sexual predator (“#Dr No Consent” or “#Moon raper”) the day before his casting announcement, there is a scramble to find the new James Bond. Two candidates are available, Theo (Kit Esuruoso), the well-spoken black Cambridge educated actor with a home in Monaco who does a perfect screen test, and Richard (Peter McPherson) who tests better on the algorithm.
The action is set mainly in the wood panelled office of Deborah but there is a wonderful transformation during Act 1 into the screening room, designed by Cory Shipp, which feels like a set from a 1960’s Bond villain. Derek Bond, the director (no relation), gives the show a fast paced, almost farcical delivery and makes the most of the scripts innuendo and colourful language to generate plenty of laughs, which the Barn audience loved. Yet at the same time, the central theme feels relevant to all casting in TV, stage and film in the 21st Century, especially with so much social media scrutiny and trolling. Does it matter what an actor’s past, race or sexuality is if that person can convey the role successfully? As a character says, “if you want to be a star, some things are best kept in the dark” as they were in the bygone film era but today as a performer takes on a “role to die for”, quite literally in this case, filling someone else’s shoes, how do you escape the worldwide scrutiny and social media factions who seek to undermine and destroy reputations? Do we want our creative community to always produce to the most commercially successful formula or do we want to encourage risk taking, backing a gut feeling and innovation? At least the Barn Theatre, Cirencester under Iwan Lewis’s leadership and the “Built by the Barn “ Productions, appear to be willing to take risks and premiere new work and they deserve our support. As James Bond says in Skyfall, “I like to do some things the old-fashioned way” and to paraphrase, a good play should leave you “shaken” AND “stirred”. A Role To Die For certainly left us shaken with laughter and stirred by the thoughts. And left us dying to see the next James Bond movie, whoever is cast in the role!
**** Four stars
Reviewed by: Nick Wayne
A Role To Die For plays at The Barn Theatre, Cirencester until 15 March, with further info here.