A spirited and inventive parody of Notting Hill meets the Devil
What would happen if Richard Curtis and Dante met? The answer is the Wardrobe Theatre’s mash-up parody Notting Hell, in this remount of their original 2024 production.
Notting Hell closely follows the best parts of Curtis’ original film. We meet Julian Worthington (Tom England), owner of the romantic bookshop, Pride and Preju-a-books, in the depths of singlehood and mired in debt. And in walks American pop sensation, Lexi Chase (Esther Myers). But what begins with true love turns into a journey through the fiery pits of the underworld.
The show is, without doubt, entertaining. With a sizable number of characters, the four-strong cast work exceptionally well together. England is a standout in his lovably awkward and foppish parody of Hugh Grant’s William Thacker. Myers meets all the demands of being a musical superstar in a reworking of Julia Roberts’ Anna. Toby George and Adiza Shardow both demonstrate great versatility and skill in bringing to life the film’s other classic characters.
Ella Barraclough’s set is wonderfully inventive in its use of the Wardrobe Theatre’s unusual perpendicular set-up. We move with ease between the various locations with the help of neat and well-crafted sound and lighting design by Jack Drewry and Chris Collier, respectively. But the split between the locations of Notting Hill and the underworld across the two acts means the two storylines don’t entirely connect. We slightly lose sight of Julian’s life above ground as we follow his escape from the depths of hell.
The comedy was at its best with a longer set-up, particularly the moments in Notting Hill. In a clever nod to the original material, we meet Julian’s absurdly posh sister Poppy and her partner Tarquin, Lexi’s overbearing boyfriend (who turns out to be Alec Baldwin) and hear the self-deprecating voiceover of Julian’s woes. However, some of the jokes, mostly innuendo, received a mixed reception and could have been done without, distracting from what was otherwise excellent material. With the introduction of Julian and his challenging flatmate Prick (George), the show certainly gets into its stride.
The underworld is a brilliant blend of Greek mythology with the influence of Faust. It’s a fun watch whilst perhaps lacking in a sense of suspense and tension as we come to appreciate Lexi’s circumstances too late in the second act. Hints are scattered throughout her true identity; however, an earlier reveal would have lent itself to stronger stakes. We feel for Julian’s struggle as the underdog, but we don’t fully grasp the danger of his love for Lexi in time for it to have gravity.
There are a few witty songs throughout which help punctuate the show’s best moments. Particularly catchy is our introduction to the Devil, played with charisma and flair by Shardow. Earlier, the performers use audience interaction to create one of Lexi’s tracks in the studio. To the particular credit of Myers’ quick improvisation, this moment is very watchable (who would have thought a pop song could be created using the words curry, spiders and Monopoly deal?). But in the absence of other similar moments, it stood out unnaturally.
Boasting a talented cast and memorable moments, whilst somewhat faltering at points in its plot, Notting Hell makes good use of its original source material in producing a vibrant and entertaining watch.
Notting Hell runs until 8th August. Tickets here.