FULL DISCLOSURE: I am in no way unbiased towards this production. I am friends with most of the cast and crew, although I should note I was a fan of their work before I knew most of them personally. I also had a minor role in it, helping out with marketing in the run up to its first performance, and I sat in on roughly two weeks’ worth of rehearsals. As such, while I will strive be objective in my criticism, there’s no way I can actually write about this show objectively. Consider this review a biased opinion from someone involved, and I advise you check out some other reviews from less biased sources.
The Marriage of Kim K might be best described as Channel Surfing: The Musical. Mashing up the stories of Kim Kardashian, The Marriage of Figaro, and a couple arguing about which of the two to watch on television, fledgeling company leoe&hyde have produced a witty and engaging piece of theatre. Its clever structure, vigorous performances, and ambitious music make this a play well worth catching, even if the elaborate technical challenges sometimes threaten to overwhelm the team.
The play tells three overlapping stories which interact and comment on each other as the show progresses. We open with Amelia and Stephen, a lovely if slightly passive aggressive couple chilling out in front of the television. We are then introduced to Kim Kardashian and Kris Humphries, in a condensed version of their infamously failed 2011 marriage. Finally, we have the Count and Countess from Mozart’s opera The Marriage of Figaro. Amelia wants to watch Kim. Stephen wants to watch Mozart. Arguments, inevitably, ensue.
As Stephen and Amelia bicker, we switch back and forth between them and the shows they are watching. The effect, while jarring at first, is the baseline from which the show pulls several clever tricks, and the music makes the most of this juxtaposition. The live band switches between electronica and classical music at the drop of a powdered wig, and there’s some fun to be had spotting the show’s many quotes from contemporary pop songs.
But these quotations are still in service of the larger show. They create dramatic irony, such as when Amelia sings about her unhappy marriage to a sample of ‘Happy’, or hint at the world beyond the stage, like when ‘N****s in Paris’ is used to signal the approach of Kanye West. This is a show about the detritus of culture, both high and pop, but while the juxtapositions are all terribly clever, the script can feel a little bit timid.
It takes the best part of twenty minutes for all three narrative tracks to get up and running, which feels like quite a slow run up to the play’s real premise. Similarly, the decision to give every cast member a solo does not do wonders for the show’s pacing. The Count and Countess’s in particular feel underwhelming, and audio problems are a frequent occurence. The performance I saw had some real trouble with microphones, including a particularly nasty bit of feedback during Kim’s solo. There was also a real problem with audio levels, as the band frequently threatened to drown out the singing.
This is not a knock on the performers, however, who are good across the board. Stephen Hyde and Amelia Gabriel are impeccable as themselves, full of warmth and humanity, while effectively conveying their respective flaws of egotism and control freakery. [I should stress here that I am referring to the characters’ egotism and control freakery]. Yasemin Mireille is a classic diva as Kim K, while James Edge is pure id as Kris Humphries, his wild gyrating and asides to the audience almost taking him into panto territory. Nathan Bellis and Emily Burnett are similarly impressive as the Count and Countess, their skilled opera tones a marked contrast with the high-pitched pop antics of Kim’n’Kris.
The Marriage of Kim K is a sprawling, ridiculous contraption of a show, but at a mere 72 minutes it also manages to be energetic and concise. While it occasionally threatens to collapse under its own ambition, on its own merits it’s a funny, heartwarming, and downright clever piece of work, whose finer touches you will still be realising several days later.
Oh, and it has possibly the greatest title drop in the history of theatre.
The Marriage of Kim K is in London until 29 July, and the Edinburgh Festival in August. Tickets are available to buy here.