Why I Can't Stop Watching 'The Comedy About Spies' (2026)

📍 Adelphi Theatre

The Plot:

I love a silly comedy, but I’ve always said that a silly comedy has to also be supported by a strong plot (for me). If the comedy in a show didn’t exist, would I still want to watch it? And I do. Of course, the comedy adds so much to it, but there’s a really strong plot here that keeps you guessing and engaged throughout. The characters are all likeable — and every time I watch the show, I seem to leave with a different favourite.

There are quite a lot of characters in this play and, sometimes in situations like that, individual personalities and backgrounds can become a little hazy. But Henry Lewis and Henry Shields have written a play that massively captures the essence of each of them. By the end of the play, you feel like you know them, and that’s not just down to the writing, but also the cast’s interpretation and delivery.

The Comedy:

The show is called The Comedy About Spies, so it would be strange not to speak specifically about the comedy in this production.

The physical comedy is so impressive, and it all seems so natural — like these are things the characters would genuinely do, rather than moments that have been shoe-horned in purely for comedic effect. There are moments in the second act where it’s almost a waterfall of laughter — one gag after another, with barely any time to breathe in between. I particularly love how the show has been written with callbacks to previous gags, one character finishing a sentence with a word that another immediately picks up on, and little moments that come back later in completely different ways. It’s all woven into the show so seamlessly.

The Set & Props:

The set for this play is, quite frankly, a spectacle to take in. I am absolutely blown away by it every single time I see it. The play covers quite a lot of location changes, and the set caters for this wonderfully. If anything, I think the set has become even more impressive since its first run.

The clever use of props adds so much to the production too — some you don’t see coming at all, but when they do, they take your breath away… mostly from laughter!

The show is primarily set at the Piccadilly Hotel, and David Farley’s set design captures the 1960s setting and décor beautifully. It’s complemented by the fantastic costume designs led by Deborah Andrews, wigs by Suzanne Scotcher and Joanna Town’s lighting design, which completes the world and completely pulls you into 1960s London.

The Direction:

Matt Di Carlo’s direction of this production is absolutely brilliant. There’s so much happening on stage, but it never feels chaotic or out of control — the sheer amount of precision behind it all is incredible.

The stamina needed to get through this show is  unbelievable. Cast members are running across the stage throughout the performance, and Dave Hearn deserves a particular shout-out for the sheer amount of physical stamina needed for the role of Lance Buchanan — parkouring around the stage like a gazelle and making it look completely effortless. (Do gazelles do parkour? You get what I mean — he does it speedy and gracefully 😂)

Movement director Shelley Maxwell has done such a great job, while the fight scenes, directed by Greg Tannahill, are slick, tight and incredibly humorous.

The Cast:

The talent of this cast is off the charts. I’ve already mentioned the physical stamina needed to get through this show eight times a week, but the comedic timing of every member of this cast is an absolute joy to watch. The majority of the cast are the same as the previous run, with Bryony Corrigan seamlessly slotting back into the role of Elena for the first time since the workshop. And with Mischief being so good at improvisation, you just never know when something new might pop up — a tiny change in delivery, a prop not quite falling right or a twinkle in someone’s eye sending another cast member in a completely different direction. Somehow, it all still feels seamless. There’s barely any downtime, with most of the cast on stage for the majority of the show. They’re all completely committed to their roles, and the insane amount of energy they bring to every performance is spectacular to witness.

No two shows are ever the same:

Now… the play itself remains the same every night.

But they keep things fresh by changing things up — adding lines, changing gags, shifting things around. Not to mention that cast members may perform a line slightly differently, which then has a knock-on effect on how the other cast members react to them.

There’s just always something new to look out for.

At this point, I find it almost like a fun little game — seeing how things change throughout the run and spotting the moments that have evolved.

It’s a little addictive, watching how they can adapt a show in real time and see what sticks with an audience. It’s almost like you’re watching them craft it right in front of your eyes.

Beyond the Stage:

During last year’s run at the Noel Coward Theatre, Mischief did a series of podcast episodes about the show -  Mischief Makers - where Dave Hearn interviewed Henry Lewis and Henry Shields about writing the play; Sadie Jennings and James Goldsworthy about stage management; Deborah Andrews and Lulu Johnson about wardrobe; and cast members Adele James, Allie Dart and Matt Cavendish about what it’s like to perform in the show. I absolutely loved learning more about how the production was built, and it definitely gave me a whole new appreciation for just how much work goes into a show like this. It also made me notice things I might not have picked up on before. I’m just sad there was never an episode about the incredible set, because I would LOVE to know more about that! There’s so much more going on underneath the silliness — the writing, the movement, the design, the cast, the tiny details and the constant evolution of the performance.

How it Makes Me Feel:

I’ve always said what I love the most about theatre is the escapism it brings — the ability to leave your worries at the door and just immerse yourself in a story. It’s nice to spend a couple of hours smiling continuously, even if your face hurts by the end of it! For the entire duration of this show, I am fully at the Piccadilly Hotel, right there with them. Mischief shows are always a lovely reminder that it’s okay to embrace the silliness, not take yourself too seriously and just have fun. Watching this show isn’t just watching a play with a great cast. It’s watching a group of best friends having the best time together on that stage — and that love and energy radiates out through the theatre every night!

Every time I see a Mischief show, I walk out that door with my shoulders feeling a little lighter, but it’s especially the case with this one. We all need a comfort show sometimes — and Spies is exactly that for me.

The Comedy About Spies runs at the Adelphi Theatre until 26 September. If you haven't seen it, I highly recommend you do!!