REVIEW: DEATH AND THE CAT by Robert Emlyn Slater at The Drayton Arms Theatre 26 - 30 Nov
Photography: kingadulka.photo
‘Slater’s witty script sparkles with laugh-out-loud moments’ ★★★★
Death (or ‘Derek’ as he prefers to be called) and his cat, the aptly named Panther, are companions in purgatory, tasked with helping the dead pass into the afterlife. Their job involves guiding departed souls toward one of two mysterious doors: red or black. The problem is, no one knows what lies beyond the black door - it remains a mystery even to Death and his celestial colleagues (party-loving Satan, buffet-enthusiast God, and Instagram-obsessed Angel Craig). Panther’s growing curiosity about the black door sets off a chain of events that plunges the world into chaos, leaving Death spiralling into an existential crisis, Panther fleeing, and the universe teetering on the brink of collapse.
“Death and the Cat” is a quirky comedy and a darkly whimsical exploration of the bonds of friendship, love, loss, fear of the unknown, mortality and the mysteries of the universe. This imaginative production, penned by Robert Emlyn Slater, offers an engaging blend of absurd humour with poignant insights that captivates the audience from start to finish. Slater’s witty script sparkles with laugh-out-loud moments, particularly through its vividly drawn characters. The physical humour is also perfectly executed while reflective moments on profound topics like infinity offer emotional depth amid the levity.
The cast is superb, delivering knockout performances across the board. Rowland Sterling is stellar as Death, confidently striding through each scene with a playful charm and impeccable comedic timing, tinged with a vulnerable edge in the more reflective moments. Lydia Cashman’s portrayal of the zany, emotionally volatile Satan is a riotous delight, bringing boundless energy to the stage. Lanre Danmola and Ludovic Jean-Frances demonstrate remarkable versatility and comic timing in their multiple roles, while Kathryn Bates brings heartfelt nuance to her dual performances as a dying young woman and an embittered sister grappling with being robbed out of her inheritance.
Director Penny Gkritzapi masterfully balances the play’s high-energy momentum with its quieter, emotional beats. She keeps the action focused and vibrant, allowing the talented ensemble to shine.
Though the play brims with clever one-liners and memorable scenes, the much-anticipated revelation of what lies behind the black door feels underwhelming, unable to fully satisfy the build-up it receives - but then, it’s difficult to see how this could have been resolved satisfactorily. Additionally, at two hours, the runtime feels a touch overlong, particularly in the second act, where some judicious trimming could enhance pacing.
Despite these minor flaws, “Death and the Cat” is a triumphant celebration of human quirks and flaws, cosmic absurdities and the enduring power of friendship. Six years in the making, the play has evolved through several incarnations and Slater’s years of development have paid off in a production that is both entertaining and thought-provoking, leaving audiences pondering life’s mysteries and laughing along the way.
Social media (x): @RobertESlater
