Exit Laughing Spoiler Free Review

Exit Laughing - 3.5 out of 5 stars
Southern Amateur Theatre Company Inc.
TICKETS: https://www.trybooking.com/events/landing/1541110

Paul Elliott’s Exit Laughing centres on a group of women whose regular bridge night is disrupted by the sudden death of their friend Mary. Rather than mourning in a traditional sense, the remaining friends decide to “borrow” her ashes from the funeral home and embark on an unpredictable and often chaotic night of drinks, dancing, and self-discovery. What unfolds is a heartfelt and comedic exploration of friendship, grief, and the importance of truly living.

Set in Alabama, the cast sustain strong and believable Southern accents throughout the entirety of the performance. Bobby’s drawl is authentic and well-suited to the character. His accent supports the idea that he may come from a different part of the South before settling in Alabama for university, adding an extra layer of believability.

Meredith Kreig delivers a layered and thoughtful performance as Connie, effectively capturing both maternal strength and emotional fatigue. Her portrayal of grief is grounded and sincere, particularly in moments reflecting on the loss of her friend Mary, giving the character a strong emotional anchor.

Kate Saxon’s Millie brings a warm and playful energy to the stage, with a clear commitment to the character’s innocence and eccentricity. Her portrayal leans into the comedic aspects of Millie’s personality, particularly her naivety, which lands well with the audience. At times, there are opportunities to further explore physical freedom and variation to deepen the character’s presence and fully realise her potential within the ensemble dynamic.

Lexie Dryden’s Leona is performed with confidence and clear character intention, showcasing strong instincts and an engaging stage presence. Dryden’s performance remains entertaining and demonstrates considerable ability in both comedic and sympathetic moments.

Liam Banks, as both Bobby and the policeman, show a strong grasp of character and narrative function. His portrayal begins through Rachel’s perspective as somewhat antagonistic, before gradually revealing a more nuanced and empathetic side. His presence at the end of Act One is particularly engaging, and his storytelling in Act Two helps build a believable emotional connection to Mary. Strengthening the authority in his initial entrance and dialogue could further elevate his impact.

Ally Gum’s performance as Rachel is a standout, delivering a character that is both emotionally volatile and deeply human. From the opening moments of heartbreak through to the escalating chaos of the evening, her choices remain consistent and detailed. Her physicality, reactions, and attention to small behavioural nuances, such as her anxious tendencies and interactions with the bridge ladies, add depth to the role. Carrying key transitional moments between acts, she demonstrates strong control over tone and pacing.

Despite limited stage time, Ninja makes an immediate memorable impression as Butterbutt, clearly establishing character and earning a warm response from the audience, as well as a well-deserved inclusion in the curtain call.

Director Linda Edwards has brought together a cast that demonstrates a clear understanding of both character relationships and the overall story. There is a strong sense of cohesion within the ensemble. While Act Two delivers a range of emotional moments, some tightening of pacing could help create greater variation and prevent the rhythm from feeling too even across extended sections.

Special mention need be made of the cast’s professionalism when the onstage speaker lost power during the stripper scene. The performers adapted quickly and continued without hesitation, maintaining audience engagement throughout.

There are occasional instances of uncertain or slightly clunky blocking, as well as moments where movement lacked full confidence. These are areas that could be refined to strengthen the overall polish of the production. Considering the physical nature of the Act One conclusion, the inclusion of an intimacy coordinator would have supported and tightened up these sequences further.

The set design is busy in the best sense of the word, creating a lived-in and well-utilised space that allows the action to unfold naturally. There is a clear sense of history within the environment, supported by detailed set dressing and thoughtfully placed props. The variety of alcohol bottles adds visual charm and contributes to the comedy, giving the characters multiple options to interact with and heightens the sense of spontaneity.

Costumes are simple, contemporary, and effective, allowing performers to draw from familiar wardrobe pieces while still clearly defining their characters. The policeman stripper costume, along with the gold pants, stands out as a particularly effective choice, especially in how they contribute to the heightened physicality and humour of that scene.

There are a handful of moments where lines or cues are missed; however, these instances are handled with professionalism and quick thinking by fellow cast members, ensuring the flow of the performance is largely uninterrupted. One moment involving an onstage prompt triggering a delayed sound cue drew attention in a way that momentarily disrupted the illusion.

The music choices enhance the storytelling and supports the emotional and comedic beats of the play. Lighting design is simple yet effective, providing clear focus on the action while incorporating subtle variation, particularly during the stripping scene. For most of the performance, it successfully grounds the action within the house setting.

The opening night audience responded enthusiastically, clearly connecting with both the humour and emotional sincerity of the production with a strong sense of shared enjoyment in the space, with some audience members even joining in with the celebratory moments on stage.

As the debut production for Southern Amateur Theatre Company, Exit Laughing marks a promising and enthusiastic beginning. With future productions including The Vicar of Dibley, ’Allo ’Allo 2, and a planned children’s show, there is a clear sense of passion and community that suggests this company will continue to grow and establish itself within the local theatre scene.

- Andrew Broadbent