REVIEW – SPEED DIAL – EDINBURGH FRINGE

Spies Like Us are an award-winning physical theatre company that formed in 2017. Speed Dial, written by Ollie Norton-Smith, Hannah Lloyd Barnes and Joe Large, was first performed at the VAULT festival in 2020 as a work-in-progress. Now it’s at the Edinburgh Fringe for the entire month.

Set in the 1970s, Speed Dial takes place on a university campus, following a Professor (Hamish Lloyd Barnes) who is waiting for an important phone call. Soon he finds himself in the midst of a nightmare, where he must solve cryptic puzzles which stand between him and his missing daughter Flora (Genevieve Sabherwal).

The uniqueness of this production is in its use of dance, which is simply mesmerising to watch. Choreographed by Zak Nemorin, the movements are slick and in-sync throughout.

Their use of props is effective. There is a desk and door which are used throughout the show in different settings, and these transitions are seamless. Then there is the use of multiple, multi coloured rotary phones. When one person is speaking to another on the phone, the cast create a phone line from one to the other. The visual storytelling of this show is phenomenal, but also done in a way which means we’re able to focus on the dialogue simultaneously.

Two of the cast took on two roles – Sabherwal plays both Flora and Lucy and Elle Dillon-Reams plays both the Groundskeeper and Willis. Dillon-Reams made both characters distinctly different, performing different accents for each person. However, I felt that occasionally it was difficult to distinguish between Lucy and Flora as there were not enough differences between the performances by Sabherwal. This led to some confusion over which character she was portraying at times.

Eager student Terri is played exceptionally well by Evangeline Dickson, her comedic timing is impeccable. All five members of the cast are excellent in their delivery of the script. Together the cast are captivating. But the best performances for me come from Dickson and Tullio Campanale who plays The Dean. Both provide faultless comical performances.

Speed Dial is unlike anything I have seen before. The plot is a great thriller with many twists and turns, and puzzles galore. The use of movement is what makes this production really shine. With some further fine tuning, this production will be a hit and I’m so excited to see where this show goes next.

Rating: 4 out of 5.

{🎟 AD – PR invite – Tickets were gifted in exchange for an honest review}

2 Star Review 3 Star Review 4 Star Review 5 Star Review 2022 2023 Adaptation Almeida Cabaret Camden Fringe Cast Announcement Christmas Comedy Dance Drag Edinburgh Fringe Edinburgh Fringe Interviews Fringe Immersive Interviews Jukebox Musical LGBTQIA+ Lyric Hammersmith Manchester Musical New Musical News New Wimbledon Theatre North West Off West End Park Theatre Play Review Revival Richmond Theatre Round Up Royal Court Theatre Shakespeare Show Announcement Show Recommendations Soho Theatre Southwark Playhouse Touring Production VAULT Festival West End

  • A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
    The infamous Sh!t Faced Showtime are back in London with a festive edition, they have taken Dickens’ classic and put a drunken spin on it. The formula is the same as other iterations of the Shi!t Faced shows, one member of the cast has been boozing, and this time it is John Milton who plays Scrooge. Before the show, half a bottle of Jim Beam, some wine, and beer have been consumed in the previous 4 hours. The rest of the cast, try to keep the show on track, also aided by James Murfitt as the compere, Charles Dickens. The … More A PISSEDMAS CAROL – REVIEW – LEICESTER SQUARE
  • A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
    Spine-tingling yet heart-warming, Mark Gatiss’s retelling of A Christmas Carol truly encapsulates the haunting atmosphere of a Victorian ghost story, balanced out with enough humour so as to capture the festive season. Led by Keith Allen as Scrooge, with Peter Forbes as Marley, this show is perfect for Christmas viewing. The set design by Paul Wills is instantly captivating, containing stacks of metal cabinets towering over the theatre, moveable by the cast to allow space for other central props like doors, beds and tables. In addition to this, the puppetry design by Matthew Forbes is incredibly clever, adding creepy elements to the show such … More A CHRISTMAS CAROL – REVIEW – ALEXANDRA PALACE
  • A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
    The title of this winner of Theatre 503’s 2023 International Playwriting Award by Roxy Cook may seem like the set-up to a joke, but the narrative that unspools is instead an affectionate, gently barbed and at base quite sobering portrait of three ordinary souls (and one restless feline) adrift in modern Moscow. There is much affable, satirical back-and-forth commentary on the accepted myths & stereotypes of the Russian spirit & soul. Beset by the indignities of age, opportunism, graft, fatigue, the characters orbit one another, doomed to play out their roles in an unjust, predatory and saturnine universe. The play opens … More A WOMAN WALKS INTO A BANK – REVIEW – THEATRE503
  • PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
    Peter Pan Goes Wrong first premiered in London at the Pleasance Theatre in 2013, and earlier this year the show made its Broadway debut. Now the production is back in the West End for the Christmas season. Following on from The Play That Goes Wrong, in this production, J.M. Barrie’s Peter Pan is staged by the fictitious Cornley Polytechnic Drama Society and goes awry, disastrously so. The meta-comedy is filled with slapstick comedy, sometimes the humour may be predictable and silly, but it’s universally funny throughout – there is something for everyone here, and the laughs come thick and fast … More PETER PAN GOES WRONG – REVIEW – LYRIC THEATRE
  • GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE
    Drawing heavily from the classic canon of the British supernatural, HighTide’s trio of contemporary Gothic narratives uses traditional storytelling formats to address contemporary themes. Directed by Elayce Ismail, reverent musical interludes accompany tales of apparitions and nighttime conjurings that speak of women from the East of England. Unfortunately, the effect is less chilling and more lightweight, with conventional structures, predictable plot twists and an over-reliance on external forces to drive narrative shoring up some of the less relatable aspects of the genre. Nicola Werenowska’s The Beach House, perhaps the cleanest of the three tales, tells of a mother and daughter’s … More GHOST STORIES BY CANDLELIGHT – REVIEW – SAM WANAMAKER PLAYHOUSE

Leave a Reply