Alia Marshall
Two Girls One Gun is Comedy Gold’s latest addition to their CGTU (Comedy Gold Theatrical Universe), which promises us sexy spies, boobs, legs, and friendship. This company is known for their genre-parody shows jam packed full of stunts and cheeky slapstick comedy, subverting expectations by placing women at the centre of these traditionally male dominated narratives. Naturally, my interest is piqued.
When I enter The Stage at BATS, I’m delighted to see the performers (Phoebe Caldeiro and Nina Hogg) suspended on wires, greeting us as we walk in. As they swing to and fro, making light conversation with us brave soldiers in the front, we’re informed that they’ll need our help during one specific scene (I won’t spoil it, but trust me it’s very fun). If you’ve seen a Comedy Gold show before you’ll know that audience participation is pretty standard, they have a recipe that they follow, but I’m starting to think the chef needs to think of something new.
The show opens with the pair still in these wires, giving us a quick glimpse into the relationship that is to come, though I find myself wondering whether this scene is necessary since we never return to it (or the wires). Why are they there? What are they doing? Where are we in the friendship timeline? Anyway, I digress. The opening number that follows is a delicious girly-pop rendition of the classic spy anthem, written and composed by Caldeiro whose musical talent never fails to impress. Opening a show with a song is a real treat, Caldeiro and Hogg’s vocals compliment each other nicely and we can already see the pissing contest emerging between the characters.
Over the next hour we’re taken on the roller coaster ride that is Vaja Steele (Caldeiro) and Titsa Dynamite’s (Hogg) blossoming friendship. The story is pretty straightforward, two spies at the top of their game are on the same mission and end up having to work together, think Mr and Mrs Smith if it were about two friends but still just as horny.
The stage is relatively bare, save for a few large wooden boxes that are shifted around throughout the show (built by Troy Etherington), which is made up for by some very clever lighting design (Scott Maxim). Vaja and Titsa’s relationship is what really matters, so I think a stripped back set with a focus on lights works here (plus, it’s pretty hard to do stunts with set pieces in the way). Hill has done a great job with the blocking, making excellent use of the space and levels on The Stage - seriously they utilised all the levels.
However, this brings me to the areas that need work. The stunts are, of course, a massive part of the show. Hogg’s fight choreography (coached by Carrie Thiel and Simon Manns) is dazzling and well thought out, but because there are so many stunts, they lose some of their impact. A key aspect of the spy genre is tension, moments of stillness where you don’t know who's going to go for the gun, who is going to double cross who, or when the fight is going to start. To achieve that build, there needs to be room for that tension to expand, which I think would also help develop Titsa and Vaja’s relationship by making the enemies to besties flame burn a little slower. Don’t get me wrong, I had a lot of fun, but I want the same amount of precision and care that went into the stunt choreo to go into the writing, so that the stakes between the characters match the physical stakes of the stunts.
I think that introducing an experienced writer or dramaturg into the room could elevate the calibre of the work by providing more depth and nuance to the characters and narrative. These folks are so talented, and they’ve proven this fact time and time again. Creating shows around a genre that’s so well known like pirates or spies is a great way to breathe new life into them, especially when the tropes are being subverted, and I’ve seen what they can do when they give the writing time to marinate and develop it’s full flavour.
This is a kick-ass (literally) performance that, with a bit of tinkering, could be something showstopping, a feminist comedy for the ages. I was ooing and ahhing throughout, and I can guarantee you will be too!
Two Girls One Gun is on The Stage at BATS until Saturday 27th July.
DISCLAIMER: the folks behind the company, Nina Hogg, Phoebe Caldeiro, and Troy Etherington, are my university chums from way back, hell, I was there when this company formed (literally, I was the tentacle in the first 10 minute pirate performance in Studio 77). Their returning director, Katie Hill, is also a very good pal. This is to say, I am very familiar with their work, but I have done my best to provide an honest and unbiased review. Please get in touch with us if you have any feedback via [email protected].
The show opens with the pair still in these wires, giving us a quick glimpse into the relationship that is to come, though I find myself wondering whether this scene is necessary since we never return to it (or the wires). Why are they there? What are they doing? Where are we in the friendship timeline? Anyway, I digress. The opening number that follows is a delicious girly-pop rendition of the classic spy anthem, written and composed by Caldeiro whose musical talent never fails to impress. Opening a show with a song is a real treat, Caldeiro and Hogg’s vocals compliment each other nicely and we can already see the pissing contest emerging between the characters.
Over the next hour we’re taken on the roller coaster ride that is Vaja Steele (Caldeiro) and Titsa Dynamite’s (Hogg) blossoming friendship. The story is pretty straightforward, two spies at the top of their game are on the same mission and end up having to work together, think Mr and Mrs Smith if it were about two friends but still just as horny.
The stage is relatively bare, save for a few large wooden boxes that are shifted around throughout the show (built by Troy Etherington), which is made up for by some very clever lighting design (Scott Maxim). Vaja and Titsa’s relationship is what really matters, so I think a stripped back set with a focus on lights works here (plus, it’s pretty hard to do stunts with set pieces in the way). Hill has done a great job with the blocking, making excellent use of the space and levels on The Stage - seriously they utilised all the levels.
However, this brings me to the areas that need work. The stunts are, of course, a massive part of the show. Hogg’s fight choreography (coached by Carrie Thiel and Simon Manns) is dazzling and well thought out, but because there are so many stunts, they lose some of their impact. A key aspect of the spy genre is tension, moments of stillness where you don’t know who's going to go for the gun, who is going to double cross who, or when the fight is going to start. To achieve that build, there needs to be room for that tension to expand, which I think would also help develop Titsa and Vaja’s relationship by making the enemies to besties flame burn a little slower. Don’t get me wrong, I had a lot of fun, but I want the same amount of precision and care that went into the stunt choreo to go into the writing, so that the stakes between the characters match the physical stakes of the stunts.
I think that introducing an experienced writer or dramaturg into the room could elevate the calibre of the work by providing more depth and nuance to the characters and narrative. These folks are so talented, and they’ve proven this fact time and time again. Creating shows around a genre that’s so well known like pirates or spies is a great way to breathe new life into them, especially when the tropes are being subverted, and I’ve seen what they can do when they give the writing time to marinate and develop it’s full flavour.
This is a kick-ass (literally) performance that, with a bit of tinkering, could be something showstopping, a feminist comedy for the ages. I was ooing and ahhing throughout, and I can guarantee you will be too!
Two Girls One Gun is on The Stage at BATS until Saturday 27th July.
DISCLAIMER: the folks behind the company, Nina Hogg, Phoebe Caldeiro, and Troy Etherington, are my university chums from way back, hell, I was there when this company formed (literally, I was the tentacle in the first 10 minute pirate performance in Studio 77). Their returning director, Katie Hill, is also a very good pal. This is to say, I am very familiar with their work, but I have done my best to provide an honest and unbiased review. Please get in touch with us if you have any feedback via [email protected].