THE GLORIOUS FRENCH REVOLUTION (OR: WHY SOMETIMES IT TAKES A GUILLOTINE TO GET ANYTHING DONE)

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐⭐⭐⭐ | Press Invite

The Glorious French Revolution (or: why sometimes it takes a guillotine to get anything done)

As a Francophile, j’étais très excité to see The Glorious French Revolution (or: Why Sometimes It Takes a Guillotine to Get Anything Done). I mean, what a title. If you’ve been on social media recently, especially on the more political side, you’ll have seen the phrase “I’m feeling a bit French” thrown around in the comments. Sam Ward’s play delves into the history of that… erm… shall we say, sentiment. Not only is the title a draw, but it’s comforting (and a little thrilling) to know I’m not the only one with an appreciation for a guillotine. Turns out the French bloody loved them. 

“The lady doth protest too much, methinks” is a line from Shakespeare’s Hamlet, but let’s just say the French peasant women of 1792 would very much disagree. And frankly, I don’t think the Bard would appreciate how they might express this disagreement. (Spoiler alert: the guillotine gets involved.) Ward’s energetic and razor-sharp script doesn’t just present a high-energy history lesson—as we journey through  August 1792, July 1794, and January 2024, it also shows us the mania and chaos of revolution in action. 

The cast delivered superb performances, all playing multiple roles with astonishing dexterity and speeding changes. Each actor brought something unique to the table, but there were standout moments that left lasting impressions. Joe Boylan was hilarious as a voguing King Louis XVI and later delivered a poignantly spiraling shoemaker. His energy and stamina, particularly in one grueling scene, were nothing short of remarkable. I can’t even run for a bus. Jessica Enemokwu was a triumph—her aristocratic persona had me alternating between howls of laughter and bursts of fury. Sha Dessi’s turn as a brash, macho and American revolution coded Lafayette —complete with an absurdly catchy empowering and inspired theme song—was a scene stealer and had the audience in stitches. Paul Brendan’s portrayal of an ill-fated aristocrat in particular was deeply moving, his demise brimming with humorous pathos. Meanwhile, Alice Keedwell’s dual performances as Marie Antoinette and King Louis XVI balanced comedic brilliance with a biting critique of their naïve malevolence. As a collective they all covered many roles and worked seamlessly together, it certainly looked like a lot of fun was had! 

The production team also deserves immense praise. Tom Foskett-Barnes’ sound design and Han Sayles’ lighting were, in my opinion, near perfection. The new dawn scene was particularly profound, capturing the awe and terror of the revolution’s unprecedented actions in a way no other medium has managed to for me. The interplay of sound, silence, light, and shadow created an atmosphere of controlled chaos, immersing us in the turmoil of the time. Hazel Low’s set and costume design brilliantly leveraged the school gymnasium setting, with clever props and visual cues that rewarded an attentive audience as well as highlighted how our modern education has managed to subdue and sanitise such a terrifying and chaotic time period in history. 

Funny, educational, satirical, absurd and heartfelt – this show isn’t going for realism but its messages certainly land. I found the ending with the guillotine analogy particularly moving. Ward’s show offers a message that resonates deeply with today’s political climate. And no, I’m not advocating for beheadings (put the pitchforks down people, but still maybe put a wee bit of pressure on the ol’ bourgeoisie). But maybe it’s worth us all remembering that history shows us what collective action can achieve when the tipping point is reached.

The Glorious French Revolution (or: Why Sometimes It Takes a Guillotine to Get Anything Done) is running at New Diorama Theatre until 14 December.

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⭐⭐⭐⭐⭐ J’adore. This is hands down one of my favourite productions of the year, and I can’t wait to see it again.

Photo Credit: Alex Brenner

CAST

Joe Boylan
Paul Brendan
Sha Dessi
Jessica Enemokwu
Alice Keedwell

CREATIVES

Director & Writer – Sam Ward
Set/Costume Designer – Hazel Low
Lighting Designer – Han Sayles

Sound Designer/Composer – Tom Foskett-Barnes
Dramaturgs – Josie Dale Jones and Ben Kulvichit
Producer – Rhian Davies

Commissioned by New Diorama Theatre