Rewriting a Charles Dickens’ comedy set in the 19th is not an obvious thing to do and maybe that’s why it worked

When the lights in the audience don’t come fully down, the audience realizes how involved we will be in this Victorian world. Sally Phillips, who played the role of narrator for Press Night, did a fabulous job blending the role of actor, narrator, and one might say, stand-up comedian with some incredible modern takes, political commentary and a few jabs at London’s living crisis. 

Bleak Expectations, directed by Caroline Leslie, relentlessly jests about the sexism and lack of sexual activity during that era. 

Mark Evans comes back to the theatre after a fruitful career in TV and radio to bring the Victorian pompous and inherently ridiculous funny story to life. Originating from the Watermill Theatre last year, this stage adaptation of the popular Radio 4 comedy arrives in the West End just in the nick of time to spread some much-needed joy.

With the appearance of the notable characters in the world of Dickens, we are introduced to the melodrama involving Sir Philip Bin, his father’s demise during imperial affairs, his mother’s descent into madness, and his sister’s abduction by Gently Benevolent. Young Pip eventually finds himself at St Bastard’s boarding school before fleeing to London to make his fortune in the garbage trade.

Sally Phillips appeared throughout the performance with various observations, asides, and occasional improvised lines. Future guest appearances will include Stephen Fry, Ben Miller, Lee Mack, Julian Clary, Jo Brand and many more. With such prominent cameos, the show’s tone will undoubtedly fluctuate, adding a pleasant touch of variety.

While the compelling first act overshadows the lack of a driven narrative in the second act, director Caroline Leslie maintains a spirited approach that never takes itself too seriously. While behind a loud and bold comedy, it still managed to shed light on many issues, focused a lot of the jokes on feminist political ideas and toxic masculinity bringing the world of Dickens into a present which is relevant today.

It was fast-paced to the point that if you blink you might miss it a very good joke. The cast is exceptionally talented and physically engaged throughout. While being able to play up the archetypes, the cast still managed to bring in a new and exciting inner life. 

In a show filled with Brechtian influence as the actors kept breaking the fourth wall, directing lines at the audience, and even asking for some interaction. Rachel Summers portrays the frustrated Ripely Fecund, John Hopkins delivering a beastly performance as Benevolent. However, it is Marc Pickering who steals the show with his impressive juggling of various Hardthrasher siblings and a three-man jury simultaneously. 

It can be questioned that the show doesn’t offer much in terms of challenging the past and the future with most of the commentary being noncontroversial as it avoids delving into more current debates, preserving the merriment that ensues when satirizing only the quirks of the 1800s that we all already agree upon. But perhaps that’s not the aim of Bleak Expectations as Mark Evans himself described the need for a good feel show after such hardships we faced as a society.

Bleak expectations doesn’t live up to its expectations in the best way. The classic but edgy design immediately gave away its inspiration sitting in-between some very well-known and loved comedies such as The Play That Goes Wrong and Pride and Prejudice Sort of. A hilariously light comedy about a questionable era that remains questionable no matter how much fun we make of it.