Review: GASPING BY BEN ELTON at Wellington Repertory

First performed in 1990, Gasping is Ben Elton’s debut stage play, a sharp, satirical comedy that takes gleeful aim at corporate excess. It quickly became a hit thanks to its exaggerated, almost cartoon‑like depiction of the high‑powered world of big business.

Set inside a ruthless multinational corporation desperate for its next breakthrough product, the play follows the company’s discovery of a groundbreaking idea: pure, “designer” air. Bottled, branded, and sold as a luxury item, it becomes an instant sensation… with catastrophic consequences.

I was immediately intrigued by the premise and had been looking forward to this production since it was announced last year.

The script is packed with sharp, rapid‑fire dialogue, and this cast delivered it with real pace, often leaving the audience a beat behind the jokes. I’m grateful I wasn’t the one tasked with remembering some of Philip’s (Mike McJorrow) more complex lines.

McJorrow, a familiar face to Wellington theatre audiences, gave a standout performance. His character evoked shades of Blackadder’s Percy Percy, particularly in mannerisms and physicality, which added an enjoyable richness to the role.

Tony Burton offered a solid portrayal of Sir Chiffley Lockheart. He occasionally struggled to maintain the brisk tempo demanded by the script, but this is something likely to smooth out as the season progresses. Joseph Corbett, as Sandy, also delivered a reliable performance, with several moments of slapstick that landed well.

Lydia Verschaffelt was excellent as Kirsten, a determined, ambitious go‑getter. One of the show’s highlights was a scene between her and Philip, in which it becomes painfully and hilariously clear that he is not picking up on what she is clearly putting down. Funny, yet tinged with tragedy, it was one of the most memorable moments of the evening.

Billie Cleeve rounded out the cast as Miss Hodges and several other characters. She brought confidence, variety, and freshness to each role, and her appearances consistently added a welcome shift in tone.

Tanya Piejus’s set design captured the period well, and Jamie Byas’s lighting, simple but effective, supported the action without distraction.

Some elements of the script do show their age. A few lines feel more contentious now than they likely did in 1990, and some of the dated, sexist humour may not sit easily with all audience members.

I also felt the play ran about 15–20 minutes too long, dragging slightly toward the end. To be clear, this is a critique of the script rather than the cast or direction. Oliver Mander’s direction was strong overall; I was fully engaged at intermission, but my investment lessened somewhat during the second act.

Two scenes were particular highlights: the squash match between Philip and Sandy, cleverly staged with impressively accurate sound effects and the sauna scene, in which Philip receives a massage. Both moments showcased excellent physical comedy and were clear audience favourites.

The costuming was strong, with multiple changes that suited the era; however, a few details such as crooked ties and untucked collars could be easily corrected backstage to enhance polish.