Valhalla!

Valhalla! wants nothing more than to make its audience laugh. It is filled with slapstick, farce, sexual innuendo, cross dressing, over-the-top shenanigans and has absolutely no shame whatsoever. And for the most part, it works rather well.

The play is actually split between two stories that run parallel. Ludwig is a prince in 1800s Bavaria who is destined to become king but just wants to enjoy the opera.

Roughly 100 years later, James Avery is stuck in a small Texan town and yearns for escape. Though their lives are completely different, they have common threads, and the play finds a way to nicely tie both stories together in the end.

Andy Arnold’s production is as flamboyant as an opera high on speed. It is grand, highly theatrical and does not care if one can see the seams. There are many clever gags, and he has certainly taken Mel Brook’s theory of humour to heart: throw everything at the audience and hope some of it sticks.

He also has a seven-strong cast who are game for anything. It is borderline filthy at times, but the company are so earnest and willing that it never feels naughty. Johnny McKnight might have the hardest part of playing the mad Ludwig, but Mark Prendergast actually has some of the best moments as James. The rest of the company have fun playing multiple roles, with each playing at least one character that impresses.

If there is a flaw, it can be found in its pacing. Such a madcap comedy needs to play fast, and there are times, particularly in the second half, where the pace was a tad too slow, throwing off the timing of some of the action and clever word play. One could also be critical on some of the technical aspects, but again the world Arnold has created makes it all work.

It may offend some, but because it wears its heart on its sleeve it is difficult to be overly insulted, making Valhalla! a production worth enjoying.