Bond. James Bond. Hear those words and you know what you’re in for. Bond has been called back from retirement (shock!). He’s maybe not the fittest he’s ever been but he’s none-the-less on the job. Then of course there’s the obligatory attractive female with a ridiculous name, the shady and mysterious villain, the slap-you-in-the-face-with-a-wet-haddock foreshadowing, the gadgets, and even a rather impressive car chase. It’s all very clichéd, but from the “opening credits” you can tell this take on 007 is going to be a little different.
Performer Gavin Robertson’s biography states that he comes from a physical theatre background and it certainly shows through in his movement. Each step is perfectly timed, each change of direction fluid and purposeful. In fact, his physicality is what this entire show is about, with a large proportion of it involving no dialogue at all. It’s a joy to watch him morph from character to character, to embody the blank stage space and make it seem full with just the aid of three skeleton doorways.
The plot is a little thin on the ground, but that could be said for most Bond stories, being just enough to keep the narrative going and let Robertson show off his art. Occasionally, however, the action seemed to run away with itself, so that is wasn’t quite clear how you got from one scene to the next, and it felt like maybe a section was skipped. There are specific shout-outs to certain Bond books and films throughout, which may tickle the fancy of aficionados, but the majority of the references are broader, encapsulating the overall attitude of the series – its recurring themes and well known devices – and ensuring that the show is accessible to all who have even the vaguest exposure to the series.
As a take on the Bond franchise, this is an amusing and enjoyable night out, and as an example of physicality, it’s an impressive offering.
Kryztoff Rating: 4K
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