Imogen Doel, Jonjo O’Neill (as James Bond) and Nathaniel Martello-White. Photo Alastair Muir
It’s been more than two weeks since I saw The Get Out at the Royal Court and considering the production had only three performances and hardly a week of rehearsal, it’s safe to say it took me longer to write the review than it took for the production to come together. No matter. Don’t hold my slowness against it. Because The Get Out punched way above its weight and it deserves a write-up (even if it is by a slow writer like me).
At the Royal Court website, it says this is a “new late-night revue style show conceived by writers Robin French and Anthony Neilson”. Submissions were from Royal Court staff of any capacity, the performance was put together in record time. None of these gives a sense for the actual result, that feels like a leaner, punchier version of Mr Burns. (As much as I love Mr Burns, a leaner version of it is a very attractive proposition.)
Surreal and with pop culture at its heart, The Get Out exists in a world of apocalyptic ruins, even if it’s only the subtext of the narrative. The set is a run down hollowed-out theatre, the actors are dressed in black tie and formal gowns but the clothes are torn and dirty and with a touch of vampire chic. Among the ruins, snapshots of stories play out, screamingly funny Continue reading
the other bridge project 