Bonding
Stirred, Not Shaken
Bonding: The Myth, The Legend and The Legacy of Bond
by Cyril Blake
Seabright Live at the Corn Exchange, Newbury until 8th July, then on tour until 26th August
Review by Sam Martin
Newbury’s Corn Exchange was transformed into a time-travelling, nostalgia-drenched homage to the world’s most famous spy this summer, as Cyril Blake brought his one-man show Bonding: The Myth, The Legend and The Legacy of Bond to the stage. Written and performed by Blake, and deftly directed by Matthew Parker, this production is far more than a tribute to Bond’s shaken-not-stirred bravado. It’s a touching and unexpectedly vulnerable look at family, identity, grief, and the myths we inherit, and sometimes outgrow.
The show follows Steven Lewis, a man whose life has been inextricably ‘bonded’ to the Bond franchise, thanks to a deep-rooted connection with his father. Through an inventive mix of storytelling, impersonation, comedy, and candid reflection, Blake skilfully explores how our favourite fictional worlds become entwined with real-life memories. From childhood games to adult grief, Bonding maps out a personal history that mirrors the changing face of Bond across the decades.
What makes this production particularly compelling is its structure. Steven’s story is framed around the jackets worn by each incarnation of James Bond, a simple yet inspired theatrical device. Each jacket marks a new era in both the Bond films and Steven’s life, serving as both costume change and emotional transition. The moment Blake shrugs into a new blazer, the audience knows we’re entering a new phase: the Connery years of childhood hero worship; the Dalton and Brosnan phases of teenage awkwardness and adult cynicism; the Craig era of raw emotion and re-evaluation. This clever motif gives the piece a sense of rhythm and familiarity, grounding its flights of fantasy in something tangible … and there are plenty of those flights! The performance is packed with familiar quotes, impressions, and sequences that fans of the franchise will instantly recognise. However, what elevates the material is Blake’s ability to move beyond pastiche. His impressions: of Bond, Q, Moneypenny (and an especially brilliant Sean Connery – you can pay me later, Cyril) are consistently funny but never feel gratuitous. Instead, they are tools for deeper exploration: of masculinity, of Britishness, and of the expectations passed down from one generation to the next.
Blake’s writing is at its strongest when it blurs the line between play and poignancy. A highlight of the evening is Steven’s re-enactment of a childhood fantasy involving a home-grown mission to rescue the family cat, held hostage by the nefarious Blowfinger. This section is pure theatrical joy, full of exaggerated villainy, DIY gadgets, and the wide-eyed earnestness of an eight-year-old performing death defying stunts and then escaping in his DB5; a heart full of heroics. It’s laugh-out-loud funny, but it also captures something deeply universal: the way children absorb the world around them and turn it into play.
Equally memorable is the recreation of the iconic double entendre between James and Moneypenny. Delivered with delicious comic timing, these exchanges gently parody the flirtatious banter while subtly interrogating the gender dynamics behind them. It’s a prime example of the show’s tone: affectionate but not uncritical. Blake acknowledges the problematic legacy of the Bond films, misogyny, toxic masculinity, outdated views on sexuality, and he does so without heavy-handedness. These reflections are woven into Steven’s own coming-of-age, mirroring his growing awareness of the complexities behind the myth.
Director Matthew Parker brings a clean, confident hand to the staging. With only one actor and minimal props, the production could easily feel sparse, but Parker ensures the piece remains dynamic and visually engaging. The use of space, transitions, and gesture is meticulously crafted, allowing Blake to glide between scenes and characters with clarity and impact. There’s also a strong sense of pacing; moments of high energy are balanced with stillness and reflection, and the show never outstays its welcome.
As the narrative unfolds, it becomes clear that this is not just a story about loving Bond. It’s a story about loving someone who loved Bond. The emotional twist near the end, revealing the real reason behind Steven’s devotion to 007, lands with genuine force. Without giving too much away, it reframes everything we’ve seen, shifting the piece from a quirky nostalgia-fest into a heartfelt exploration of memory, grief, and identity. It’s a moment that lingers, reminding us that the characters we adopt (on screen and off) are often ways of holding on to the people we’ve lost.
Cyril Blake’s performance is magnetic. He moves effortlessly between ages and emotions, from suave impersonations to childlike wonder, to raw vulnerability. His writing is sharp, witty, and layered with emotional intelligence, and his delivery is full of charm and conviction. What could have been a light-hearted romp becomes something far richer: a deeply human story that just happens to be wrapped in a tuxedo.
Ultimately, Bonding succeeds because it understands something essential about fandom: it’s never just about the films, or the characters, or the one-liners. It’s about connection — about the memories we make while watching, the people we watch with, and the way these stories shape the stories we tell about ourselves.
Whether you’re a Bond aficionado or not, there’s something universal in this tale of legacy, love, and letting go. A moving and meticulously crafted show with humour, heart, and a licence to reflect.
Sam Martin, July 2025
Photography by Steve Ullathorne
Mark Aspen 