Review: THE CROWN JEWELS, Garrick Theatre

The Crown Jewels marks writer Simon Nye’s, who is best known as the writer for Men Behaving Badly, West End debut. This historical heist, based on a true story, centres around King Charles II and the plot to steal The Crown Jewels and features a cast made up of some of the best British comedians including Al Murray (in his stage debut), Mel Giedroyc and Neil Morrissey.

Set in 1671, it tells the tale of Colonel Thomas Blood (Aidan McArdle) and his attempt to humiliate the King by stealing The Crown Jewels in the run-up to the 10-year Jubilee celebration. The Irishman is joined in his heist by his son Tom Bloody Jnr (Joe Thomas), Captain Perrot (Neil Morrissey) and actress Jenny (Tanvi Virmani).

Unsurprisingly their plan doesn’t go as expected and after stabbing the elderly keeper Talbot Edwards (again played by Murray) and running off with the jewels, they're quickly arrested and thrown in the Tower of London to await their execution. Even more suprising is that after arranging a meeting with King Charles II, Blood convinces the monarch to not only pardon all three, but Blood is also given a job at court.

The best moments of the show undoubtedly come from Murray and Giedroyc. They bounce brilliantly off each other in their portrayal of Edwards, the bumbling keeper of The Crown Jewels, and his wife who seeks to make some extra money by selling baked goods in the shape of the jewels. The production also includes a few musical numbers, allowing Carrie Hope Fletcher (who plays both Elizabeth Edwards, and the Lady of the Bedchamber) to showcase her impressive singing voice.

Murray and Giedroyc are also the two cast members who take part in interacting directly with the audience. Fair warning, if you’re in one of the boxes or in one of the front rows of the stalls, you may find yourself in the spotlight. These moments garnered the biggest laughs of the evening and Murray’s comedic quick thinking was impressive to watch - he clearly relishes his role as the King, with his over-the-top RP accent and flamboyant nature. Another highlight for me was Michael Taylor’s colourful costume design, particularly Giedroyc's French noblewoman's dress and the King's attire.

The Crown Jewels is part panto, part stand-up and the actual plot of the play is thin, dull and slows the pace right down (which is a stark contrast to the quick, sharp stand-up routines interspersed throughout).

The production uses every comedic trick in the book to get laughs, from slapstick to farce and double-entendre, and it often feels like it’s trying a bit too hard.

The Crown Jewels is at the Garrick Theatre until 16 September.

Photo credit: Hugo Glendinning

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