Review: Oh Zeus!

When the Greek gods are involved, a little chaos is to be expected. When Le Navet Bete enters the mix, chaos is practically guaranteed.

Nearly 20 years since the company was founded, Le Navet Bete return with a story even older than themselves in Oh Zeus!, their fifth production to visit York Theatre Royal to a welcoming response.

Known for their unique brand of comedic mayhem and limitless imagination, they truly do ‘live for the laugh’. And one thing’s for certain, they were living last night, with audiences roaring from start to finish.

While their slapstick style and inspirations from 80s and 90s clowning may initially suggest children’s theatre, Oh Zeus! is very much aimed at all generations; in fact it could be argued the older the better. As the company explained, it’s about tapping into universal humour: something a little cheeky, a little risky and capable of unlocking those proper belly laughs that don’t get enough use these days.

The inspiration for the show came from all directions: previous works, Netflix series and even childhood books. Looking at Greek mythology through a Le Navet Bete lens allowed them to embrace the pure madness of the gods and transform it into something wonderfully bonkers and authentically them.

This time, we’re plunged into Ancient Greece. Zeus is on one of his usual power trips, his wife Hera (sporting the energy of a particularly unimpressed Anna Wintour) frankly can’t stand him, and their daughter Hebe is desperate to marry Gregg, manager of the Hotel Krapios. Naturally, Zeus has other ideas and as wedding plans spiral out of control and a whole host of gods descend upon the celebrations, one thing becomes increasingly clear: a marriage may not be guaranteed, but chaos certainly is.

What is perhaps most impressive about a show that appears so fluid and spontaneous is how meticulously crafted it actually is. Behind the apparent madness lies extraordinary precision. Multi-rolling mayhem, lightning-fast costume changes and perfectly timed entrances all require a level of technical discipline that could easily be overlooked amidst the laughter. Considering the sheer volume of wigs, togas, props and footwear changes, it’s a remarkable achievement.

Bringing over 30 characters to life are company members Al Dunn, Matt Freeman and Nick Bunt, supported by stage manager and designer Fi Russell, who may well have the toughest job of the lot, keeping up with the trio. As they joked during the post-show discussion, they know they’re typecast; Al plays the villains, Nick gets the good guys and Matt gets the women. After all, have you seen those legs?

‘The trio switch between characters in seconds’

Dunn’s Zeus is both playful and commanding, with a character journey that develops in ways we don’t initially expect. A particular highlight came through his interaction with audience member Pete, who unknowingly found himself promoted to a starring role. It was a brilliantly simple piece of audience participation that generated some of the biggest laughs of the evening.

Bunt’s Gregg – not Greggs, as the running joke repeatedly reminds us – is full of earnest charm. More patriotic than pastry, his devotion to both the gods and his beloved Hebe, soon to become his ‘Hebe Gebe’, provides much of the story’s heart.

Then there’s Freeman’s Hera, seemingly carved from sumptuous stone and permanently unimpressed by the antics unfolding around her. How Freeman managed not to corpse during some of these scenes remains a mystery in itself as he strutted around Olympus with absolute commitment.

Yet these performances are only scratching the surface. The trio switch between characters in seconds, transforming accents, physicality and mannerisms so effectively that each role remains instantly recognisable, even before the next costume piece appears.

The set transports us between Olympus, the Hotel Krapios and, in Act Two, somewhere considerably darker. Its multi-level design creates an exciting playground for the performers, allowing the action to unfold across every inch of the stage and making full use of the cast’s physical agility.

Written by the company alongside co-writer and director John Nicholson, for all the show’s absurdity, there remains a genuine heart beneath the silliness, something that feels important to Le Navet Bete’s work. The audience may come for the chaos, but it’s the characters and relationships that keep them invested. Throw in unexpected musical interludes, surprise twists and the occasional ad-lib, and you have an evening of pure theatrical delight.

If you enjoy comedy that’s a little cheeky, delightfully daft and performed by a company whose talents seem to know no bounds, then make your way to York Theatre Royal this week. The gods may be unpredictable, but Le Navet Bete certainly know how to deliver a laugh.