Review: Eat The Rich (but maybe not me mates x) (Soho Theatre)

Review by Seth Wilby

⭐️⭐️⭐️⭐️⭐️

Normally, when you review a show, you try to go in as blind as possible. But with this one, that was impossible- I’d witnessed how it dominated last summer’s Edinburgh Fringe, followed along as it swept awards, and saw that Netflix were already developing it into a TV series. So, naturally, my expectations were high. And, as the star rating at the top of this page gives away, I am pleased to say that it did not disappoint.

“If there’s one thing that’s worse than classism and the disparity of wealth in this country, it’s FOMO”. That is one of many brilliant lines in Jade Frank’s long-titled solo show, Eat The Rich (but maybe not me mates x), and it summarises what it’s about better than I could ever do. Semi-autobiographical, the play follows working-class Liverpudlian Jade as her life changes from call centre to Cambridge University, having to secretly begin a cleaning job just to get by. Exposing modern Britain’s problem with elitist attitudes through wit and charm, Eat The Rich is not afraid to ask some difficult questions. It’s a play on classism…but funny.

Frank’s writing is incredible in its scope- a state-of-the-nation play that’s as funny as it is damning, with a story that is genuinely compelling. Almost instantly, we root for Jade, buying into each part of her journey as she applies, and eventually arrives at Cambridge University, and we greatly admire the fact that so much of it is to spite a rude, old man- think Elle Woods for the 2020s. It would’ve been easy for a genuine sense of story to be lost, yet Franks has integrated it seamlessly, incorporating engaging anecdotes that both entertain and expose. We hear stories of Jade’s attraction to someone who ties his jumper around his shoulders, of her tolerance towards posh gay people, and of her attempts to bond with her cleaning colleague, all forming a coherent plot with an emotional core and a powerful ending.

Ultimately, this is a play about trying to fit in somewhere that you don’t belong, and there’s this tragicomic feel beneath the play’s surface throughout. Never bordering on preachy, the messages in Eat the Rich are bountiful and pertinent, all arising naturally from within Jade’s story. Scaldingly relevant, the show exposes the absurdities of the class-based system, spilling out beyond the pompous ideals of Cambridge and making a quiet commentary on the need for wider acceptance. Perhaps some of the audience feel secondary guilt, maybe others feel seen, but everyone in that theatre is being made to think. A love letter to Liverpool, and to working-class people everywhere, it says that you can fight to defy what classism expects of you.

All of that, though, still doesn’t do justice to what is a genuinely hilarious script. It’s remarkable how Franks has managed to create a piece where the same lines can convey humour and classism. A lot of the comedy is observational, with the script recognising how many laughs can come from the absurd realities of the elite- there is an awareness that meeting people with the names ‘Tilly, Milly and Jilly’ is naturally hilarious, for example, and Franks capitalises on every example of this. Writing with a genius degree of wit, each line is funnier than the last, and there are some moments of sheer brilliance that will certainly stay with you.

Also starring in the show, Franks is a versatile and engaging performer, comfortable enough with her own text for it to feel natural and free-flowing. Bursting with an infectious energy, Franks is an extremely likeable presence on stage, never veering towards a characterisation that could appear grating or self-righteous. Acutely aware of her intended audience, Franks lands every comic beat, and also hits the emotional subtleties demanded- the play consists of three ‘moments’ where time seems to stop, and Jade imagines her future should she abandon where she came from, and Franks makes this fear seem palpable. Her skill at letting comedy and classism coexist is remarkable, and her performance is one you both root for and sympathise with.

Special mentions must also go to director Tatenda Shamiso and dramaturg Ellie Fulcher, who have helped form a production that achieves so much in such a short space of time- every choice feels intentional, and always achieves the desired impact. Shamiso’s direction is dynamic and pacey, amplifying Franks’ brilliant writing into an impeccable production. Sound design and composition by Roly Botha consistently shadows the mood well, and Zoe Beeny’s lighting design brings admirable depth and exuberance into such a small space. Watching all the creative elements unite to improve an already impressive piece is simply wonderful.

Clearly, I loved Eat the Rich. It’s no surprise it has seen such rapid success, and I patiently await the day when Franks becomes the next big thing. Almost like a modern day Shakespeare, she has crafted a piece which address the problems of Britain’s class system in a deceptively witty and engaging sixty minutes (besides, Franks could have written “to be or not to be” but I doubt the Bard could have written “it was like the three witches of Macbeth if they all shopped at Oliver Bonas”). A terrific concept, terrifically written and terrifically performed, I cannot wait to see whatever’s next.

Eat The Rich (but maybe not me mates x) plays at Soho Theatre until 31st January. Tickets from https://sohotheatre.com/events/but-maybe-not-me-mates-x/

Photos by Marc Brenner