Grave Mistake

Dead Funny

Grave Mistake

by Matthew Ballantyne and Toby Hampton

Ru Lawrence and Hope Theatre Productions at The Hope Theatre, Islington until 7^th June

Review by Heather Moulson

Despite the engaging title, here is also one that could tempt fate. Would it become a grave mistake? Two and a quarter hours would be a bit daunting if this were the case. However, our fears were unfounded as this clever comedy-farce enticed the audience right from the first line.

Despite robbing her younger sister of her inheritance, and dragging the family funeral business to ruin, the lead, Regina is a surprisingly likeable character. In this role Gabrielle Nellis-Pain is, one might say, monumental. She creates a poignant figure and carries the witty lines and drink-fuelled antics all the way through this clever production.

Put-upon Harriet, the younger sibling who has bottomless patience, is intelligently played by Laurel Marks. Marks nicely unpicks the character as the play goes on, fighting to save their one hundred and fifty year-old family business from Regina’s gin bar aspirations. It particularly needs saving from well-meaning Malcolm, the unpaid ‘intern’. Gabriel Fogarty-Graveson works very hard and creates a clever combination of sincerity and naivety, while being charmingly conniving.

Grave Mistake is written by Matthew Ballantyne and Toby Hampton, a previous success behind them at the Park Theatre, and they are a team to look out for. Moving at a swift pace, full of punchlines and misunderstandings, the material accelerates nicely into black farce.

Molly-Rose Treves is awe-inspiring as she covers the roles of Mrs Clarke, Mrs Farrington and Rev Plumpkin. The latter is particularly hilarious as the lofty, and unlucky, vicar. Excelling as the haughty and odious Mrs Farrington, and the grieving earthy Mrs Clarke, Treves has a natural humour and a real gift for comedy. Her delivery boy role is brief but also very humorous.

In the very small auditorium, the single set of a high street funeral parlour is nicely lit, a professional setting that houses turmoil. The vital connecting doors are put to good use as two funerals are conducted simultaneously. There is the nice touch of a coffin in the second half, which makes it Orton-esque, whilst forming a necessary connection to the main action.

This production could face difficulties on how to conduct the ending but the classy cast pulls if off smoothly. Under the detailed direction of co-writer Toby Hampton, the pacing is swift. Although this witty piece would benefit from a larger space (the Hope Theatre has a wonderful pub downstairs), it works very well. Now, I’m dying to see it again.

Heather Moulson, May 2025

Photography by Cam Harle