The Painkiller, theatre review: The physical comedy is enjoyably frenetic

Branagh clowns around to score a hit as farce’s hilarious hitman, says Henry Hitchings
Hand it to them: Kenneth Branagh and Rob Brydon create a potent chemistry on stage
Johan Persson
Henry Hitchings18 March 2016

Kenneth Branagh tends to come across as a warm but fundamentally very serious actor, at his best when negotiating some mighty Shakespearean scene. Yet here, in Francis Veber’s dizzy French farce from the Sixties, he’s almost unrecognisable.

At first his character, professional hitman Ralph, appears smooth and purposeful. But it’s not long before he’s reduced to a quivering, jabbering, drug-addled mess, and Branagh’s performance is a riotous feat of clowning, complete with bizarre accents and violent pratfalls.

Alongside him Rob Brydon is Dudley, a press photographer who’s feeling suicidal because his wife is leaving him for her psychiatrist. Dudley is tediously talkative, lurching from one blunder to the next, and when he rediscovers his lust for life he cavorts around in just his underpants, wiggling his pectorals like an expectant bodybuilder.

Brydon relishes both his hangdog desperation and his irritating chirpiness. The pair’s unlikely relationship stems from their occupying adjacent hotel rooms. Ralph has been hired to bump off a witness in a gangland trial — and holes up in a room that affords a perfect view of the courthouse.

Latest theatre reviews

1/50

But next door Dudley’s midlife crisis is in full swing, and Ralph finds himself having to act as a kind of therapist, while trying to ensure his giant sniper rifle remains unnoticed.

Their personalities gradually switch over, and visits from the police, Dudley’s wife and her blustering shrink create carnage. Think slamming doors, mistaken identities and trousers that keep falling down. There are golden moments, especially when Ralph has to convince the camp hotel porter (Mark Hadfield) that there’s nothing strange in his having three arms.

The play, despite director Sean Foley’s updating, shows its age — not least in implying there’s something inherently amusing about two men in bed together. The pervasive daftness and innuendo won’t convert sceptics allergic to farce. But the physical comedy is enjoyably frenetic, and there’s a potent chemistry between the leads.

Until April 30 at the Garrick Theatre, WC2H 0HH (0330 333 4811)

Follow Going Out on Facebook and on Twitter @ESgoingout

Create a FREE account to continue reading

eros

Registration is a free and easy way to support our journalism.

Join our community where you can: comment on stories; sign up to newsletters; enter competitions and access content on our app.

Your email address

Must be at least 6 characters, include an upper and lower case character and a number

You must be at least 18 years old to create an account

* Required fields

Already have an account? SIGN IN

By clicking Sign up you confirm that your data has been entered correctly and you have read and agree to our Terms of use , Cookie policy and Privacy notice .

This site is protected by reCAPTCHA and the Google Privacy Policy and Terms of Service apply.

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged in