When the award-winning BBC anthology series “Inside No. 9” came to an end last year, creators Steve Pemberton and Reece Shearsmith announced that they would be reviving the format for one last hurrah, this time in the form of a West End show. “Stage|Fright” celebrates the TV series in lots of different ways, carrying the show’s trademark humour, horror and violence, along with a well-crafted plot and multiple twists throughout. As such, Pemberton and Shearsmith end the performance by asking the audience not to reveal their secrets – and, in line with their wishes, this review shall remain completely spoiler-free except for this: wow, it’s GOOD.
The production begins with violinists performing the legendary theme tune, and pays homage to many of Inside No. 9’s most loved episodes, including A Quiet Night In, Sardines and Bernie Clifton’s Dressing Room. The entire thing is a tongue-in-cheek commentary on theatre – the opening scene is sure to strike a chord with regular theatre-goers, whilst various scenes poke fun at other recent West End productions including Opening Night, 2:22 A Ghost Story and Sunset Boulevard. Throughout, the audience are continually acknowledged and brought into the action – the show doesn’t so much as break the fourth wall, as attack it with a sledgehammer.
Pemberton and Shearsmith are both fans of the Chekhov Gun principle – the idea that, if a gun appears onstage in the first act, it will be fired in the second act, or, in other words, everything that happens on the stage happens for a reason. “Stage|Fright” plays on this principle, each time subverting expectations just when you think you’ve started to understand what the show is about. A cameo in the opening scene is so brief, many will miss it – and those that see it, will surely have forgotten by the time it becomes important in the final scene. Various parts of dialogue are called back to at the end of the play which incite gasps of realisation from the audience. It’s all incredibly well put together, and superbly executed, that one cannot help but simply marvel at the genius of Pemberton, Shearsmith and their director Simon Evans.
Of course, Pemberton and Shearsmith aren’t the only actors in this production – but to even name the full cast would be to give too many spoilers. The set allows for some slick transitions between scenes, and includes parts of the script projected above the actors’ heads at certain moments, forever reminding us that we are sat watching a play. As can be expected from Inside No. 9, the wordplay is at the top of its game, including a clever use of the “Number 9” idea that one can’t believe was not done during its nine-series BBC run.
As much as this is a celebration of the TV series, it is also a celebration of Pemberton and Shearsmith’s friendship and career. These are writers that many of the audience will have followed from The League of Gentlemen to Psychoville and finally to Inside No. 9. The highlights of the show come when both actors drop their alternative personas and just speak to the audience as themselves. These are two writers who have gone from strength to strength over their long and successful careers, and I cannot wait to see what they create next.
Tom Morley, February 2025
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