Written by Kira Mason
Directed by Matt Attwood
Review by Annie Aslett
Bad luck, you’re dead. Worse luck, you’re in Hell! Luckily, Lucy (Grace Baker) and Bubs (Eleanor Tate) are here to help. The devilish duo greet you at the door, resplendent in black wings, to check you off the list and assign you a random object (call Hell’s Existential Crisis Team as you try to work out what prompted them to give you a ball rather than a party blower). You’ll find a welcome pack at your seat, outlining everything you need to know to make your stay in hell more enjoyable.
This is the show’s conceit: fallen angels Lucy and Bubs have been tasked with jazzing up the initiation process into Hell, which takes the form of an old-school flipchart presentation. Remember that random object you’re clutching – there’s some light crowd participation as Lucy and Bubs explain the different circles of hell we’ve all been assigned to. Baker and Tate are delightful as Lucy and Bubs, though Baker is the more delightful of the two; this is no comment on Tate’s charisma, it’s just that Bubs lost her sense of whimsy somewhere in Heaven. Baker and Tate lean into their personas and bounce off each other to great comedic effect; Lucy fizzes while Bubs flattens.
As the show progresses, writer Kira Mason unveils more of Lucy and Bubs’ history and the strain that this has put on their relationship. It’s an interesting thread to explore, but the emotional depths that Mason is trying to plumb get bogged down among the weeds of the plot that emerge in the second half. After an unfortunate incident, Lucy and Bubs need to strike some names, or some deeds, from various records in Heaven, which requires a plan, which requires the discussion of the respective weaknesses of Heaven and Hell… all while Lucy and Bubs attempt to reconcile their past traumas and what this means for their relationship going forward. Phew. The tendrils of some heartfelt character work between Baker and Tate are caught up in a rushed second half that shows promise but isn’t given enough room to breathe.
A show of two halves, this is an entertaining hour that makes the most of a fun premise, fronted by dynamic and engaging actors. However, in trying to dig below the surface, Ring That Bell! becomes muddy rather than deep.
Review by Annie Aslett (contact@corrblimey.uk)
Annie is a not-so-recent graduate of the University of Edinburgh with a degree in French and Spanish, along with a Masters in Translation from the University of Glasgow. A Spanish teacher for three years, she decided to leave the classroom behind to pursue personal goals and has since been regularly reviewing for Corr Blimey’s Glaswegian wing. Annie is a life-long lover of musical theatre, whose childhood performances included a rousing production of Snow White in The Hall and a heartfelt rendition of Go, Go, Go Joseph in The Living Room.
