Yellow – theSpaceUK @ Surgeon’s Hall

Some shows are born great, some shows achieve greatness, and some shows have greatness thrust upon them. Ponder the classic quote then ask yourself if you’re a fan of Coldplay? Do you know their classic song, Yellow? Not to say it’s overused but if not, you’re going to know it by the end of this show. There’s a yellow tie, a yellow clipboard, some yellow tracksuit trousers and potentially more other yellow objects that I missed buried away in the corner of the theatre and practically watching this show from the wings.

Yellow is a snapshot of office life in ‘Hathaways’ law firm. Various characters populate the environment. We’re lectured on moralistic principles and told tales of the fraudsters they defend. All of the performers work competently and efficiently with each other. The ensemble has dynamic and inhabit their respective characters.

Eventually we are introduced to ‘Mal’ and by purpose of title, reference and plot construct invited to consider his character arc directly to that of a Malvolio beyond the events of Twelfth Night. A quick PowerPoint plot refresher presentation on the original play would have been a great addition in this office environment because sometimes a dumb audience member like me needs to remember the basics when Malvolio isn’t a buffoon in love with himself vying for the attentions of Olivia. Inevitably, Mal gets deconstructed through the play as the reworked plot arcs slowly unravel but the dramatic problem is simple. Humiliated previously, Mal seems content to live with the mocking he once faced. This route serves the action but because it doesn’t ask too many questions the ambition of the play becomes self-limiting, and this leaves everything very much self-contained.

The show progresses at a certain pace, but Hathaways revolves around bacon sandwiches, beer and going out to the pub a lot. Not much work gets done and the administrative related musings loop back and forth without achieving much in the way of conclusion or resolve. The dialogue is intricate and well written. A few genuinely funny moments pop up sporadically but the intensity of scenes, although measured and ably directed, switches from engrossing and involving too slow and unmotivated.

Thrust performance spaces offer shows the chance to present material without the traditional blocking restrictions associated with the proscenium arch. The problem is, if you don’t utilize this environment, the better part of two thirds of your audience is going to lose a lot of the action. Unfortunately, the stage works against Yellow’s design. It’s clearly blocked for an end on performance space, and this means the show is a clearly a different experience when seen centrally.

Before the plot and acting come to life this isn’t the only staging issue. There are props for ever more in an exceptionally busy office set. Bulky desk set-ups and a door frame create three distinct areas of action. A lighting plot other than the general wash isn’t really present but there’s a problem that faces all theatre companies in the Fringe now; LED lighting in a black curtained scaffolded box that’s usually a conference room sells everyone short when it comes to ambience and this show craves a mood.   

Yellow is an entertaining and well thought piece of theatre. It pays homage to its source material and gives its ensemble ample material to showcase their talent, however by inverting the original traits associated with Malvolio (e.g. vengeful, arrogant and narcissistic) the show quietly strips itself of the ability to be greater than the sum of its parts. 

Reviewer: Al Carretta

Reviewed: 20th August 2025

North West End UK Rating: