The Wolf From The Door

Published September 16, 2014

What’s it all about?

A revolution. A big British one. Lady Catherine, an aristocrat resentful of her own class, recruits Leo, a beautiful young homeless man who will eventually take over the country. They set off on a journey to enlist activists – in the form of WI groups, lawn bowling teams and historical re-enactment societies – to help overthrow the government, and nothing, not even the assistant manager of a Tesco store, will stand in their way.

Who’s in it?

Anna Chancellor leads the cast of Rory Mullarkey’s madcap new play as Catherine, the unexpected leader of the revolution. With more than just a hint of superiority, the Four Weddings And A Funeral actress oozes aloofness and determination as the woman who, for all her haughtiness, is made to feel powerless and alone by supermarkets. Living up to the calibre of his Olivier Award nominated co-star, Calvin Demba combines swagger with a hint of child-like innocence as Catherine’s evolving leader. The rest of the roles fall to Sophie Russell and Pearce Quigley, who play everything from a talkative taxi driver to a clockmaker whose spare time is spent flower arranging and building bombs.

What should I look out for?

The interesting and amusing ways in which Demba’s Leo consumes the food put before him, particularly the frozen peas and the choc ice.

In a nutshell?

Gun-toting WI members and riot-making Morris dancers, prepare your brain for the surreal and the eccentric in this anarchic black comedy starring Anna Chancellor.  

What’s being said on Twitter?

@BRJ_SharpMcLeod: So, Wolf From the Door @royalcourt was the most genuinely exciting story that I’ve seen in a long time. Fun & striking.

@thefourthcraw: Hugely entertained by surreal, madcap Wolf From The Door @royalcourt. Armed revolution via the Woman’s Institute with sniper rifles.

Will I like it?

The Wolf From The Door warns of strong language, violent scenes and brief full frontal nudity, but don’t let that put you off. The language and nudity are self-explanatory; however, those expecting the brutality of Shakespeare’s Globe’s Titus Andronicus or Martin Freeman’s Richard III shouldn’t be discouraged. The story’s violence is a world away from the guts and gore of those much-talked about productions; instead Catherine and Leo’s murderous acts are narrated, leaving the audience and their imaginations to conjure images of their brutal rampage. For those partial to a bit of bloodshed, fear not, what it lacks in grisliness it makes up for in comedy, chaos and complete and utter absurdity.

The Wolf From The Door is playing until 1 November. You can book tickets through the Royal Court website.