Drop the Dead Donkey
Ass You Liked It
Drop the Dead Donkey: The Reawakening!
by Andy Hamilton and Guy Jenkin
Hat Trick and Simon Friend Entertainment at Richmond Theatre until 22nd June
Review by Heather Moulson
Despite this clever and controversial comedy being off our screens since 1998, the original cast energetically bounce back onstage. What time lapse?! Yes, the actors show their age but they still retain their vibrant wittiness, with all their characteristics firmly in place as if they had never left us. Drop the Dead Donkey, directed with intricacy by Derek Bond, has returned in its Reawakening!
A well-written script unravels each much-loved character to welcoming applause. Starting with Jeff Rawle as the gentle George grappling with a sophisticated coffee machine. Then the laddish Neil Pearson as Dave, a reformed former gambler, who has more to reveal in the gender neutral toilets! They both admit to being headhunted. The odious Gus, played by the wonderful Robert Duncan comes on and gleefully takes all the credit.
Stephen Tompkinson delightfully reunites us with the (allegedly) disabled, attention-seeking and enticing Damien, a fake news reporter before that term became fashionable. Plus we have the joy of reuniting with Helen, played by Ingrid Lacey and of course, the captivating and edgy Sally Smedley, the egotistical newsreader played to perfection by Victoria Wicks. Their former bête noir, Susannah Doyle’s Joy, is now in HR and rules them with an iron rod, but she is bordering on the unhinged.
Although at their peak during the Thatcher and Major years, and briefly New Labour, the cast slide into the contemporary world with ease with the newly-formed television company, Truth News. Their benefactor remaining a mystery, they gain cult status as everything that could go wrong actually does. This includes the electrocution of the hallowed Trevor McDonald, and allegations against “National Treasure”, David Attenborough … still, they gain a high number of fascinated viewers.
George, finally free of his vindictive wife Margaret, has found happiness with a new partner. Helen is lifted out of a hole, and Damien is still devoid of human sympathy, even towards his dying mother. Sally’s career, despite remaining a TV presence, has taken a turn for the worst. This poignancy keeps its unique humour as the skilful script is brought to life.
Everyone felt the absence of the late Henry, the former outspoken newsreader, but we are introduced to new members of the team. Kerena Jagpal plays Rita, the weather girl cum unpaid intern, who has no illusions about being a “Token”, and Mairead played by the versatile Julia Hills. Both are adapt in merging with a familiar cast and hold their own beautifully. Mairead’s accent is a bit bewildering but that doesn’t stop her terrific sense of comedy.
A great newsroom set, designed by Peter McKintosh, is in a contemporary London with building works in the backdrop and a huge dominating screen that transmits Truth News live. Plus abusive and bemused Twitter feed also appear on the screen. The reunited employees naturally embrace these 21st century gadgets, not known in their heyday. Effective lighting by Peter Mumford, and atmospheric sound by Ella Wahlstrom, complete the ambience.
Sally stays true to her two-piece suit, otherwise costumes are now casual, but George’s cardigan steals the show. Joy, although still intimidating, borders on the psychotic and becomes close to a horror figure in leathers.
A nice tribute to Haydn Gwynn and David Swift onscreen, past cast members who have sadly left us, come as a touching gesture. Fittingly, Drop the Dead Donkey has its reawakening. Get there if you can.
Heather Moulson, June 2024
Photography courtesy of Simon Friend
Mark Aspen 