Arnold, the amiable leader of the writers' group. Portraying a man who lives with his mother and writes instructional pamphlets, Brown captured Arnold's optimism and supportive nature perfectly. With his moustache and woollen jumper, he exuded a warm, approachable charm. His reactions to the escalating madness around him were nothing short of hilarious; subtle double-takes and understated sarcasm added depth to his portrayal. Brown's Bennett-esque cadence, characterised by understatement and irony, positioned him as the straight man amidst the chaos. Charlie Dearden as the young Ilsa, Arnold's Mother’s carer, infused humour through her character's positivity and hesitancy. As the saucy maid, she transformed into a naive temptress, creating palpable tension between her and the male characters. It was amusing to see her longing juxtaposed with Arnold's reactions, highlighting the different dynamics in their relationship compared to real life. Dearden portrayed the tormented niece well, oscillating between sweetness and screaming hysteria. Her brief stint as a goblin was also hilariously executed. Clive Stack was a force to be reckoned with as Brevis, the gruff Welsh musical writer and retired teacher. With his deep voice and fiery temperament, Stack was a whirlwind of anger and hilarity in the first half, injecting muchneeded energy into scenes that could have otherwise felt slow due to the first act’s expository nature. In the second act, Stack's versatility shone through as he took on the role of a melodramatic doctor with a deep posh accent, eliciting more laughs with his over-the-top acting and mime skills. His portrayal of the government agent, complete with silver jacket, sunglasses, and a hammy American accent, was equally funny. He also showcased his impressive singing during the musical number. Claire St Pierre impressed as Grace, the children's writer who is easily offended and unsure of herself. She nailed the character's repetitive and somewhat mad nature, bringing humour to Grace's quirks. Her transformation into the Cockney sister was also good, but it was her portrayal of Rona, the pointy-bosomed space heroine, that truly stole the show. Adorned with a silver wig and tiny space skirt, St Pierre's physicality was incredible. Her slow-motion sci-fi run and exaggerated American accent were pitch perfect. Calling everyone "baby," she exuded a jazzy and flirtatious energy that had me in stitches every time she was on stage. Paddy Darnell-Walsh as Clem, the nerdy sci-fi writer, skilfully portrayed this character incorporating a subtle head twitch and sudden loud bursts of excitement that were both amusing and endearing. As the devilish cousin, Darnell-Walsh adopted an overly
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