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UNMISSABLE!
Stepping into the Watermill Theatre for Charley’s Aunt feels like entering a world where Victorian farce collides with 21st century sensibility. This new adaptation of Brandon Thomas’s 1892 comedy, directed by Sophie Drake, transforms the classic tale of disguise and mistaken identity into a vibrant, contemporary experience. The production radiates with humour, warmth, and an unexpected emotional depth that makes it refreshingly present, blending animated performances, modern music, and bold visual storytelling,
Rob Madge and Sophie Drake approach Charley’s Aunt with a goal: to breathe new life into an 1892 comedy and make it resonate with today’s audience. Through comical timing and musical interludes, they invite us to see cross-dressing not as a source of ridicule but as an act of self-expression and celebration. It is a fitting production for the Watermill Theatre, a company known for re-visioning classical works through inventive staging and an intimate, high-energy style that keeps its audiences fully engaged.
This new adaptation stands out by incorporating Rob Madge’s queer, theatrical perspective into the original structure, turning the play into both homage and commentary. In doing so, it aligns with a broader tradition of reinterpretations that use classical comedy to explore modern understandings of gender and performance.
Music underscores much of the action, sometimes ironically, sometimes atmospherically. Lauryn Redding’s composing and Russel Ditchfield’s sound design thread contemporary music through scene changes and moments of quick-witted inspiration, using sound as both rhythm and punchline. Alex Berry’s set and costume do an excellent job of tone-setting, the 19th century costumes are detailed and historically rooted. Kitty’s pale blue and yellow ruffled dress, Amy’s pink and green floral gown with a yellow bow, and Charley’s exaggerated scarlet bow tie all evoke the Victorian era’s charm.
The set is minimal and flexible; the use of the thrust stage and close audience proximity make the action immersive and engaging. Even the audience seated up on the balcony feel included in the chaos, creating an all-encompassing theatrical experience.
Babbs, the charismatic character at the heart of the adaptation, steals the show. Max Gill’s performance is nothing short of remarkable: flamboyant, physically expressive, and deeply human. Their portrayal celebrates queer identity with confidence and tenderness. It is both an enjoyable turn and a meaningful commentary on individuality. Babbs’s flamboyance is never empty spectacle, it is written and performed to suggest learning and acceptance.
The production delivers precisely what it sets cut to achieve: a sharp, high-spirited comedy with impeccable timing and visual flair. The physical performances are tightly choreographed, and the technical team uses music and lighting to accentuate moments of wit and surprise. What makes it truly impressive though, is its tonal balance. The humour lands effortlessly while quieter, more sincere moments are allowed to breathe. The modernisation never feels imposed; it grows naturally from the productions belief that performance itself can be an act of self-discovery. Critics have praised its approach as “bursting with energy” and “a fun, fresh, colourful glowup;” and it is easy to see why.
Those looking for a strictly period-perfect reimagining may find the contemporary style and musical composition to be a deviation from tradition. Yet, these choices feel intentional. The creative team clearly prioritise inclusivity, visibility, and emotional immediacy over strict historical accuracy.
Ultimately, this “Charley’s Aunt” is a success in both spirit and skill. Jonathan Case, Richard Earl, Elijah Ferreria, Max Gill, Mae Munuo, Yasemin Özdemir, Maggie Service and Benjamin Westerby make up a captivating ensemble, delivering performances that are dynamic and electric, while the atmosphere throughout the theatre is charged with exhilarating energy. The Watermill Theatre once again proves its strength as a producing theatre: crafting work that is entertaining, meaningful, and proudly alive for modern audiences.
The Watermill’s Charley Aunt is a candy-coloured farce with a queer heart: loud, lovely, and utterly alive.