Derrière on a G String

King's Head Theatre

Playing until 7th June 2026

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{PR Gifted ticket}

Inspired by Mr Bean and the effective use of physical comedy and non-verbal communication, Some Smith and Moore have created a phenomenally hilarious piece of theatre following an ensemble of characters as they go through their daily lives, elevating some of the most mundane day-to-day activities into exquisiteness with finesse.

By removing the spoken words and replacing them with complete gibberish, Derrière on a G String focuses the audience’s attention completely on the delivery of stories through physical movements, gestures and the actors’ facial expressions. The ensemble of actors is engaged in a series of routine activities, ranging from taking a shower, going to work, going for a swim, commuting on public transport, building in silliness and peak slap stick comedy throughout to stimulate jaw dropping and tummy aching level of laughter.

Amongst this ensemble, Sammy Moore and Alice O’Brien are the most expressive, instigating howls of laughter sometimes just with what they do with their faces or the slightest gestures. In the performance I attended, O’Brien continued to single out a “lucky” audience member sitting in the front row, throwing provocative and sharp gazes in that member’s direction throughout. Her persistence to keep up with this joke alone was enough to stimulate a roar of a response from the audience. Moore is also exceptional in this comedy sketch. Not only does he respond enthusiastically and swiftly to the moods of the auditorium, he also commands attention from every person in the room and his every move, even when they seem to be a complete mishap, able to generate endless amusement.

Though I expected much physical comedy, I have utterly underestimated the ballet and the demanding choreography until I bore witness to what unfolded on stage. Director and choreographer Alfred Taylor-Gaunt devised some spectacular movements, some elegant and mesmerising and others sexually provocative and absolute filth. This highlights the potential of physical movement and what they could achieve when used effectively. During the course of the show, the creatives have done a fantastic job to turn tender, romantic or serious moments into completely madness and chaos. When Cam Tweed performs a rather elegant ballet depicting a swan, he was interrupted by Ryan Upton in a literal giant swan costume designed by Reuben Speed. This continuous interruption of normalcy by absurdity is one of the keys to the production’s success.

My only criticism for the show is that while all of the jokes landed and certainly hit the spot, they do begin to feel repetitive after a while. Though I would be happy to sit through the entire thing from start to finish again, which in itself is a testament to how funny it is, I do feel that the creatives could be more selective on what to retain to reduce the likelihood of physical comedy fatigue.

If you enjoy Mr Bean, then this is the exactly the show for you. In fact, physical comedy is perhaps amongst the most inclusive art form, transcending language and spoken words.  This is not your typical theatre trip, it is rowdy, obscene, chaotic and guarantee to make you cry from laughter.

Creatives

Creator: Some Smith and Moore

Director/Choreographer: Alfred Taylor-Gaunt

Assistant Director: Sammy Moore

Assistant Choreographer: David Rhys

Musical Arranger: Luke Bateman

Lighting Design:  Andrew Ellis

Sound Design:  Findlay Claydon

Set Design:  Emily Bestow

Costume Design: Reuben Speed