Enda Walsh’s The Walworth Farce is about a family of Irish expats in London who react to a trauma by endlessly re-enacting a farce in their front room. There’s a similar idea in Stef Smith’s And the Beat Goes On, only in this case, Lily and Peter are Scottish expats in the US, whose response to a domestic tragedy is to spend every spare moment rehearsing the routines of Sonny and Cher.
When we find them in their suburban garage, eight years after the event that has emotionally paralysed them, they have mastered 63 episodes of The Sonny and Cher Comedy Hour, corny pre-divorce dialogue and all.
This is a funny idea, and Kenny Miller’s production for Perth theatre and Random Accomplice certainly has the appearance of a comedy. Julie Brown looks a treat in her long black hair, towering heels and succession of Cher outfits, ranging from an ankle-length flowery number in pinks and purples to a Native American headdress and a choice of all-in-one jump suits.
In various combinations of paisley-patterned shirts and shameless shorts, Johnny McKnight brilliantly captures Sonny Bono’s swivelling dance moves; feet rocking, elbows out, forehead first. They give pretty good renditions of All I Ever Need Is You, I Got You Babe and the title song.
This, however, only leads to tonal uncertainty. Unlike Walsh’s play, which exists in its own surreal universe, this one takes on real-world topics such as abusive relationships, depression, media intrusion and the kind of emotional fallout expressed (much more convincingly) by James Nesbitt in The Missing. Nothing wrong with that, except Smith holds back too much information. The mystery makes the behaviour of Lily and Peter – and Julie Wilson Nimmo as their nosy neighbour – neither funny nor tragic, just peculiar. When the full story is finally revealed, it seems too improbable to take seriously.
• At Perth Concert Hall from 2-4 April. Box office: 01738 621031. Then touring.
