Beard: The Grin Of Love
Innovation and ingenuity are dealt a better hand than genuine laughs
This article is from 2015.
Initially dressed as white-sheeted ghosts up on stage awaiting our entrance, Matilda Wnek and Rosa Robson follow up their unique beginning with a series of clever (if not especially hilarious) set-pieces. And while they do require members of the audience to help move the sequences along, fear not, it’s all relatively low-level and non-humiliating. On a couple of occasions, though, it fails to be fully clear exactly what assistance they require from a helper and the misunderstanding blunts each scene’s effectiveness.
Precisely what The Grin of Love refers to is never revealed as Beard deliver clowning routines about a weird pregnancy, an invisible woman and a man continually becoming annoyed at someone while seeming to check out on his death-bed (Wnek’s life support machine sound effect recalls her excellent ‘grandfather clock’ from a previous year). The audience is checked for contamination and later asked to wear blindfolds while there’s much fun to be had with an over-filled wine glass. Beard are nothing less than wholly inventive but genuine laughs are often culled for the sake of stylish ingenuity.
One final bit of housekeeping that’s worthy of note: fair play to Sneaky Pete’s for bucking the trend of jamming punters into a wildly over-heated room. They’ve gone the other way though, so best bring along an extra layer.
Sneaky Pete’s, 226 0000, until 29 Aug (not 18), 1.15pm, free.