AT the final destination for a production that finishes, after a strenuous six month tour, in Bristol on Saturday 3rd August, this presentation shows no signs of running out of steam. In fact, the three-strong Le Navet Bête, (Nick Bunt, Al Dunn and Matt Freeman), drive this tale of three itinerant actors trying to devise an entertainment for King Arthur that will keep them off the gallows, at a pace that leaves the audience sometimes in danger of drowning in their wake.

There are hints of Monty Python, The Play that Goes Wrong and pantomime as the story develops and the trio introduces us to a whole hatful of characters from King Arthur and the Round Table. When one of the cast declared this is not a pantomime he was met with a resounding “Oh yes it is” from the audience. Throw in a dash of modern pop music and dance – movement would be a more accurate description – and if anything you might claim that there are too many targets being set up for comedy demolition.

Following the fashion for a small number of actors playing a multitude of roles, just four in The 39 Steeps and only seven required by Opera Della Luna to present a Victorian melodrama version of Sweeney Todd, Le Navet Bête makes an asset of having to swap roles at pace, drawing fun out of awaiting an entry whilst someone makes a quick changes, or doing so in full view of the audience, mid-scene. They are also masters of the built in mistake, stools loosing a leg, wigs falling off at an inappropriate moment, etc all to raise the comedy level.

All the well known characters connected to King Arthur and his Round Table emerge, as the trio frantically makes up and illustrates the legendary stories we all accept as being part of the true history of the Once and Future King. Naturally, the beautiful Queen Guinevere, both for real and as an actor in disguise, is portrayed by Matt Freeman, the tallest completely bald actor in the cast. While Nick Hunt and Al Dunn (at times looking eerily like Rowen Atkinson) share the role of King Arthur, on occasion swapping the roles in the same scene.

It takes immaculate timing by the actors and stage crew to ensure that scenery moves precisely on cue and sound effects like heads being hit by a frying pan are delivered with perfect timing, to gain maximum effect.

Director John Nicholson, and set and costume designer and stage manager Fi Russell can take a bow for their contribution to this speedy and fun-filled evening, whoever timed the production might do well to invest in a new watch. Their estimate of two hours ten minutes is about half an hour short of the actual playing time.

GRP