★★★★

Reviewer - Natasha

*Disclaimer: Gifted tickets in return for an honest review.

Age Guidance 14+

Contains very strong language and discusses themes and uses language some may find upsetting relating to class, race, ethnicity, sexuality, sex, gender identity and disability. The show also contains fire, haze and blood.

Village Idiot uses outrageous comedy to tell the story. It will certainly shock some people. It will certainly offend some people. Some will be upset by the very strong language, which includes swearing. The characters make jokes about class, race, sexuality, sex, gender identity, trans people and disability. Nottingham Playhouse doesn’t endorse the offensive terminology used by some of the characters. We believe one of the roles of theatre is to hold a mirror up to the world we live in; to begin a dialogue and challenge perceptions. For us, Village Idiot ultimately carries a message of inclusivity, arguing that when we learn to accept each other’s differences and celebrate our individuality, the world is a richer place.

We’re aware that it won’t be everyone’s cup of tea and if you’d like to talk to a member of staff before booking, please contact our friendly Box Office team on 0115 941 9419, or email boxoffice@nottinghamplayhouse.co.uk

Village Idiot is a fresh, new and outstandingly inclusive and diverse drama that bursts irreverently onto the stage. It instantly engages the audience from its unique Prologue to the very end of an occasionally dark second act. The impact of the HS2 railway expansion on a Midlands community is dramatically explored through a small group of well-crafted characters. Riotously sweary, comedic boundaries are not so much pushed as destroyed with a wrecking ball. The wonderfully honed script from playwright Samson Hawkins brings a deft everyday realism to Nottingham Playhouse stage; it simultaneously tackles contemporary social and political issues with considered and considerable depth. Add an outstanding cast directed by Nadia Fall and superb and surprising musical numbers popping up from time to time, and there is something for everyone to enjoy, laugh at and think about.

But - yes, sorry, there’s a but. See, I thought I would unequivocally LOVE this play, I really did. There are so many amazing elements that will appeal to many theatregoers - but to me, this is the production’s flaw. Despite being wonderfully acted, sung and staged, nevertheless the lack of coherence in the play as a whole means that it doesn’t fully convince dramatically or comedically. Is it a satire? A stand-up comedy? A musical? A political drama? Farce? All of the above, potentially? (Perhaps that’s the point. Perhaps I should get more comfortable with being shunted out of my comfort zone. Perhaps you should go and decide for yourself?) So it’s not a perfect play. But I liked it very much.

Conversely, although I may have experienced unease trying to pin down the play’s focus, I felt completely at home with the ‘bad’ language. Personally, I don’t think one swear word was wasted - this is how actual people hold actual conversations, after all - although some audience members might perceive an inherent shock value. Similarly, making (darkly sarcastic) fun not only of obvious topics, but also those considered more taboo, is wonderfully refreshing. It does exactly what many of us demand of 21st-century entertainment, by challenging how and what we find amusing. Gender, sexuality, disability, The Royal Family, the Government, vegans, the university educated, those with learning difficulties, older people, people with dementia, the friend I went with named Wendy: nothing, it seems, escapes the play’s scrutiny, occasionally brutal deconstruction, and ridicule. At times, yes, I occasionally found myself laughing at people and things rather than with them; this made me wonder whether the attempted dismantling of stereotypes instead sometimes served to perpetuate them unintentionally. But that’s a whole other debate about the nature of comedy. Funnily enough, I tended to prefer the more serious segments of the drama, which are brilliantly authored. (Joking aside, there is a heart and profundity to the writing which I hope this playwright will pursue in future works.)

Visually, the production is stunning, from its swishy, satiny red stage curtains to the permanent crowd of trees reminding us of the habitat about to be destroyed. Punctuated with song (accompanied by fabulous costuming) the set is beautifully lit and looks wonderful: Set & Costume Designer Lily Arnold, take a bow. The talented cast, although never overplaying their roles, are clearly relishing the opportunity to let loose with such interesting material. All, to me, were stand-out performers tonight.

1107. Faye Wiggan and Maximilian Fairley in Village Idiot. Credit Marc Brenner..jpg

5846. Eileen Nicholas, Maximilian Fairley, Philip Labey, Joseph Langdon, Faye Wiggan and Mark Benton in Village Idiot. Credit Marc Brenner..jpg

So if you are seeking something a little bit raucous, with a huge amount of soul as well as swearing, that stretches numerous boundaries including your own, then this show is for you. (Oh, and feel free to take some other people who you think it might make a bit uncomfortable. After all, if theatre isn’t a place to take risks and make us think, at the same time providing us with the sheer joy of being entertained, I suspect people are doing it wrong.)