Rory Mullarkey’s new play is a genius, forceful attack on contemporary British society.
It’s been a hot minute since we last saw a Rory Mullarkey play on a London stage, but Mates in Chelsea is here to prove that during this five-year absence Mullarkey has merely been sharpening his knives (or pens).
Witty, absurd, and painfully relevant, Mullarkey’s portrayal of the British upper (and at times one would argue middle) classes has the auditorium of the Jerwood Theatre roaring with laughter.
Theodore “Tug” Bungay is living what he considers to be the perfect life in his lavish Chelsea apartment as a “professional viscount”. He has nothing to worry about other than planning his next summer escapade with his best friend Charlie and choosing between flowers or biscuits as an apology gift to his upset fiancée. However, he is suddenly faced with a conundrum, when his dear Mama informs him that he has spent all his inheritance on champagne and smoked salmon and so she has made a deal to sell his beloved Dimley Grange castle to an unknown, undercover Russian oligarch. Tug’s attempt to salvage his favourite place on earth triggers a domino effect of escalating chaos and confusion, perfectly orchestrated by Sam Pritchard’s masterful direction.
The production is perfectly cast. Laurie Kynaston’s Tug is the perfect blend of arrogance and naïvité and he somehow manages to keep us totally invested in the story of a character for whom we develop very little sympathy. Showcasing his exceptional comedic skills, as always, George Fouracres is arguably the star of the show as Charlton “Charlie” Thrupp, Tug’s ridiculously wealthy, and wildly culturally inappropriate best friend.
In this astute dissection of British society, each character serves almost as a different component of a very problematic whole. Driven by their own selfish motives, the characters relationships are purely transactional, devoid of any feelings, and Rory Mullarkey is not scared of exposing the hypocrisy that lies beneath the infamous British etiquette. Major focus is placed on England’s immigrant community and on all the ways in which the elite benefit on their expense, from investing in “migrant accommodations” to appropriating language and fashion on a daily basis. This sharp criticism of English entitlement and cultural ignorance is present throughout the play and culminates in a brilliantly written (and very uncomfortable) moment where Mullarkey holds the mirror up to the audience by having Oleg, the Russian character, break the fourth wall and invite the audience to clap along while he performs his “Russianness”, exclaiming “I know this is what you want!”. And, of course, the majority of the audience happily obliges, unaware of the striking irony.
Overall, Mates in Chelsea strikes the perfect balance between funny, sophisticated, and uncomfortable and is brought to life through a beautifully designed and executed production. Absolutely not to be missed.