“A cheeky triumph that proves there’s more to great comedy than just the bare essentials.”
Derrière on a G String, currently playing at the King’s Head Theatre, is a raucous and high-energy comedy dance sketch show that manages to be far more than the sum of its “brief” attire. While the production leans into a healthy smattering of nudity to grab the audience’s attention, the real strength of the show lies in the total commitment of the performers and a level of technical dance skill that caught me pleasantly by surprise.
The show does take a little while to find its footing, as the initial sketches seem to rely on the shock factor of nudity as the primary punchline. However, as the evening progresses, the variety of the comedic beats improves significantly. The production is anchored by two brilliant recurring jokes that gain momentum with every appearance. Sammy Moore, playing the character Flop, delivers a series of melodramatic reactions to embarrassing moments set to the epic swell of O Fortuna. The delight here comes from the suspense of the setup, as you find yourself trying to guess which sketch is about to lead to his next public humiliation. While the first instance feels a bit random, the escalating absurdity makes it a genuine highlight. Equally effective is Alice O’Brien’s character, Slosh, who turns the potentially awkward task of moving set pieces into a comedic win by relentlessly singling out an audience member for seductive, lingering eye contact.
Another standout element is the partnership between Cam Tweed and Ryan Upton, playing Drip and Grunt respectively. Their two comedic duets are among the most memorable parts of the night. Their first encounter, a tale of two builders falling in love or lust, starts with a humorous premise but quickly shifts focus to showcase some genuinely impressive and athletic choreography. They return later for a rendition of Swan Lake that manages to be both technically proficient and delightfully absurd, striking the perfect balance between high-brow skill and low-brow humor.
That said, the show isn’t without its pacing issues. Some of the longer sketches begin to drag, particularly a surgery section that feels more like unplanned chaos than structured comedy. Similarly, an extended tap-dancing toilet sequence, which is every bit as strange as it sounds, ultimately lacks the comedic punch needed to sustain its length. Despite these occasional lulls, the sheer energy of the cast keeps the momentum going and the sheer number of different sketches means that you will likely find something that tickles your particular funny bone. All in all, this show throws a lot at you and succeeds in being a hilarious, lighthearted experience. It is a cheeky triumph that proves there is more to great comedy than just the bare essentials, and I would highly recommend it to anyone who isn’t afraid of a little bit of light comedic nudity.
Derrière on a G String is playing at the Kings Head Theatre until the 7th June. Tickets here.