‘Taskmaster Durham’ review
‘an absolute tonic of a night-out, and the perfect cure for mid-term blues!’
Following the roaring success of Durham Taskmaster last year, hopes were high for this year’s rendition of the show. Needless to say, the cast, band, creative and production team exceeded all expectations. From impeccable design to side-splitting onstage antics, Ooook! Productions succeeded in creating an unforgettable night of hilarity.
Upgrading from the Assembly Rooms Theatre to the significantly larger Gala Theatre is no easy feat, but every member of the creative team handled the task expertly. Executive Producer Olivia Higgins-Darby’s creative vision was clear, as she led a team of brilliant creatives to create a Taskmaster experience that was bigger and better than ever. Producers Luke Mallon and Emily Power, assisted by Charlie Harris, did a fantastic job of realising the show to a highly professional level. The producing team must be given recognition for their ability to create such visually compelling publicity, sell out the stalls of the theatre, and raise money for the show’s chosen charity, Homeless Link.
The immensity of the Gala Theatre venue also posed a new challenge for the production team, one which they certainly did not back down from. The production team, made up of Production Manager Henry Flack (assisted by Tim Millard and shadowed by Jonathon-Wilson-Downs) was a powerhouse of technical ability. The show’s execution was a testament to Flack’s exceptional skill in overseeing a complex logistical landscape. Stage Manager Josh Greenwood and his team should also be recognised for their ability to adapt to the spontaneous nature of the show. Whatever tasks were thrown at them, the team ensured that the production continuously ran like a well-oiled machine.
As well as running smoothly, the production was also visually impressive to behold. Production Designer Sarah Johnston used the Gala stage to its full capacity, making use of the fly bars to display paintings of the cast. The Taskmaster’s throne is also a standout on the stage, imposing in its gold colour and purple detailing. The lighting (designed by Theo Nellis, operated by George Murray and shadowed by India Jubb) was also remarkable. Unlike typical shows, the lighting for Taskmaster was adjusted in real time to fit the onstage action. This is no easy feat, but the team handled it with ease and precision.
I was particularly impressed by the skills of projection operator Riley Hutton and camera operator Jonathan Wilson-Downs, who worked together to immerse the audience in a typically Taskmaster-esque experience. Both worked on the fly, adapting to whatever the antics of the show came their way. Chief editor Emma Youles and her team expertly stitched together all the filmed tasks. Their sharp editing choices heightened the humour, making each transition between tasks and studio discussions feel seamless and dynamic.
Onto those onstage, stand-up comedian Jamie Smyth opened the show to warm the audience up. He danced through dark comedy with ease. Smyth was thrown somewhat into the deep end when he was asked to continue longer than expected due to Fanta-related technical issues, meaning that the energy of his set was somewhat lost. Nevertheless, he handled the situation with professionalism and kept the audience engaged.
The Taskmaster (Bethan Avery) and her Assistant (Ollie Cochran) were the beating heart of the show. Appearing from the audience in a gorgeous green and garish red suit respectively, the duo’s energy was electric. Avery was magnificent in her role as the authoritative Taskmaster, effortlessly responding to everything that was thrown at her. Cochran, known as ‘Little Ollie Cochran’ – an epithet which I particularly enjoyed –, was as charismatic as he was willing to dive head-first into humiliation. Avery and Cochran make a superb double-act, creating a blend of humour and heart. In all honesty, the momentum of Act 1 was somewhat hindered by the nature of the tasks, since a lot of them involved a contestant making something at a desk, which at times felt static. Nonetheless, Avery and Cochran maintained energy through their quippy audience interactions and their hilarious improvisational skills.
The five contestants of the show bounced off each other brilliantly. The whimsical energy of Anna West, contrasted with the deadpan delivery of Oli Owen and dry wit of Lottie Goldthorpe, created a hilarious onstage dynamic. Meanwhile, the whacky energy of Michael Nevin perfectly complemented the hilariously unhinged responses of Jonas Stringer. West had the audience in hysterics as she found out-of-the-box ways to impress the Taskmaster. Oli Owen’s creation of a ‘chocolate sandwich’ was executed with brilliant smugness. A highlight of the evening was Goldthorpe’s absurd movie trailer, a thriller film about Jimmy Allen himself. Stringer earned laugh after laugh for his antics, which included his musical masterpiece ‘Bethan and Me’. Nevin was the deserved winner of the night. His effortless wit and boundless enthusiasm made him a standout. All five contestants had the audience in stitches from start to finish, showcasing their commitment to every absurd task.
Another highlight of the show was the onstage band that accompanied the action. The musical direction of Kyle Ludlow (supervised by Dan Hicks) created a comedy show experience unlike any I have seen before. Ludlow deserves extra credit for his involvement in one of the tasks itself, composing music to go alongside contestants’ artistic creations. From the bold, triumphant bursts of the trumpets (Sam Armstrong and Leo Vernaglione) to the punchy momentum of the drums (Janathan Karunakaran), the music elevated each moment with a balance of mock-grandeur and playful absurdity.
To consistently work off the cuff on a show of this scale is a highly impressive feat for any DST production. The entire company should be praised for their ability to make the show appear so seamless. Overall, Durham Taskmaster was an absolute tonic of a night-out, and the perfect cure for mid-term blues!
By Maariya Khalid.