Review: Derrière on a G String (King’s Head Theatre)

Review by Dan Ghigeanu

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Comedy is arguably one of the most subjective art forms in theatre. What makes one person laugh in hysterics may barely raise a smile from another. As someone who has never considered comedy my natural theatrical habitat, I approached Derrière on a G String at the King’s Head Theatre with a certain amount of curiosity. The show’s unusual premise immediately stood out to me: a dance-infused comedy performance, blending classical music, physical theatre, and sketches, inspired by the silliness of everyday life. On paper, it sounds gloriously chaotic and perhaps even impossibly ambitious. Could a production juggling slapstick comedy, dance, campness, and classical songs succeed without collapsing under the weight of its own complexity, or will the funny moments fall flat on its face?

Created by Some Smith and Moore and directed and choreographed by Alfred Taylor-Gaunt, Derrière on a G String has arrived in its final form after a few years of workshop runs. The show has a certain confidence in its identity, an understanding of the type of humour it wants to deliver, and a willingness to commit wholeheartedly to its silliness. The result is an energetic show that delights in turning mundane daily experiences into exaggerated theatrical sketches.

The central concept of the show lies in its mix of high art and low comedy. Classical music pieces are transformed into the soundtrack for comic sketches and exaggerated dance routines. Familiar compositions from The Barber of Seville and selections from The Nutcracker are repurposed for this show that frequently proves hilarious. The comedy from this production is pulled from recognisable awkward social interactions, petty frustrations, embarrassment, and the bizarre rituals embedded in modern life. At its strongest, the show captures the ridiculousness of ordinary existence with remarkable precision.

What elevates the material beyond a sequence of disconnected sketches is the intelligence underpinning the writing. The humour is not just random or chaotic for the sake of easy laughs. Instead, the show demonstrates a sharp eye for the absurd details hidden within everyday routines. Small gestures are amplified into elaborate sequences, while moments of social discomfort are stretched to almost unbearable extremes. The script consistently understands timing, allowing jokes to build gradually before exploding into theatrical absurdity.

That said, not every sketch lands with equal impact. Some routines linger longer than necessary, slightly diluting the comedic momentum. In a production built heavily around rhythm and pacing, the occasional overextended sequence becomes noticeable. Certain jokes feel as though they reach their natural conclusion before the performance itself recognises it, resulting in moments where the energy dips. A tighter edit in places could sharpen the show, however, even the less successful moments rarely become tedious because the production maintains an infectious sense of commitment and enthusiasm.

The choreography by Alfred Taylor-Gaunt is undoubtedly one of the show’s greatest strengths. The movement constantly surprises, shifting effortlessly between elegance and absurdity with the cast demonstrating impressive technical skill while fully embracing the exaggerated theatricality demanded by the material. One moment may evoke the elegance of a ballet recital, only for the next to descend into gloriously ridiculous chaos. It would have been easy for the production to become fragmented, yet there is a clear vision guiding the madness. He understands the importance of balance, allowing the show to embrace camp extravagance without losing control of its structure. The pacing generally remains lively, and transitions between sketches are fluid enough to sustain momentum. 

The cast as a whole demonstrates excellent chemistry and versatility, effortlessly navigating between big ballet numbers, physical theatre and comic performance. However, Sammy Moore and Alice O’Brien are the stand outs of the bunch. Both possess exceptional comic instincts and an innate understanding of physical timing. Moore delivers moments of brilliantly exaggerated absurdity, commanding attention through both movement and facial expression, while O’Brien brings infectious energy and charisma to every scene she’s in. Together, they create some of the production’s funniest and most memorable moments, often elevating already funny material into genuinely laugh-out-loud territory.

Visually, the production adopts a deliberately minimalist aesthetic, but simplicity works firmly in its favour. Reuben Speed’s costume design complements the camp tone beautifully without becoming overly distracting, allowing the performers’ physicality to remain the focal point. Emily Bestow’s set design is effective, providing enough flexibility to accommodate the production’s rapidly shifting scenarios. The minimalistic design choices help maintain focus within a show that could easily risk visual overload.

What ultimately makes Derrière on a G String successful is its unapologetic embrace of theatrical joy. The show seeks to entertain through wit, movement, and sheer absurdity. In doing so, it captures something refreshingly liberating about live theatre, the pleasure of watching artists fully commit to an outrageous idea and invite the audience to join them in its madness.

While not every comedic beat lands perfectly, the production’s inventiveness, strong performances, and distinctive fusion of dance and comedy make it a thoroughly enjoyable experience. It is rare to encounter a show so willing to take creative risks while remaining accessible and playful. For audiences seeking an evening of unconventional entertainment, Derrière on a G String offers exactly that. A delightfully celebration of physical comedy, classical music, and the ridiculousness of everyday life.

Derrière on a G String plays at King’s Head Theatre until 7^th of June. Tickets from Derrière on a G String — By Some Smith & Moore | King's Head Theatre

Photos by Charlie Flint Photography