THEATRE REVIEW: The Earl Of Winchelsea's Brother - Lock 91, Manchester.

There are several two-man (or woman) shows in this year’s fringe, generally aiming to keep you entertained with fast-paced, quick-fire humour. ‘The Earl Of Winchelsea’s Brother’ goes deliberately against the grain by starting off with a polite introduction and proceeding in a seemingly ad-lib fashion until a sort of intermission occurs only around fifteen minutes in, although the actors remain on stage, still engaging with the audience. The performance is hampered by the fact that having had the show sponsored by Hi-Tide gin, the actors appear to be contractually obliged to keep drinking this curious salt-flavoured beverage at regular intervals, with clearly diminishing enjoyment in spite of protestations to the contrary. This is a truly curious show!

At first glance, the show is an explanation by the writers Reginald Cromslor, played by Matt Bradley and Stephen Philips, played by Keenan Groom, about their intentions for writing a play. Their physical differentials almost present an image of Laurel and Hardy with beards, played with the demeanour of Jeeves and Wooster (or at least two upper-class English gents who have time-travelled from the 1920s). The actors perform with such relaxed abandon that it is almost as if they are talking aloud for their own mutual benefit rather than playing to an audience but this is a show with regular audience participation, with the fourth wall broken at the beginning and never put back together.

The stage performance is frequently punctuated by short little videos, usually featuring to varying degrees Cromslor and Philips. This gives the opportunity to both explore and satirise various aspects associated with commercial film and theatre, from blatant sponsorship to product placement as well as side issues such as the lot of a struggling actor. The audience participation ranges from on-stage assistance, joining the actors in singing a song about Rejection to filling out a questionnaire. The actual play within the play has all the pathos and gravitas of Ernie Wise at his thoughtful and dramatic best and the audience will look in vain for a discernible plot to the overall performance.

This is a very unusual show, asking more from the audience in terms of direct contribution but less in terms of deferential attention. It could be described as much as a cabaret-style act as a play and is too theatrical to be side-lined as just a form of stand-up comedy. ‘The Earl Of Winchelsea’s Brother’ does have something of the feel of a work in progress but as an original concept, considerable potential to be both developed and varied. However, the chances are that this shows differs with every performance and is executed with near-flawless timing and professionalism by two talented actors.

Reviewer - John Waterhouse
on - 21/7/19