REVIEW: No Dinner for Sinners – Centenary Theatre Group

Title: No Dinner for Sinners

Presented by: Centenary Theatre Group

Written by: Edward Taylor

Directed by: William McCreery-Rye.

Now playing until 1st June - Tickets available here

If you’re after a night of pure, unadulterated British farce — complete with tangled lies, eccentric characters, and enough comedic chaos to make your head spin — No Dinner for Sinners at the Centenary Theatre Group delivers it with gusto. This delightful romp throws a man, his many “wives,” and a very confused goldfish into a London apartment, and makes the resulting disaster absolutely hilarious. Grab your cup of tea and prepare for a rollercoaster of mistaken identities and misadventures.

Edward Taylor’s British comedy gets a thoroughly entertaining revival under the direction of William McCreery-Rye. Set in a cozy London flat—beautifully rendered with a clever projected window showing the London skyline, a drinks trolley that sees way too much action, and a real goldfish swimming blissfully unaware in its bowl—the story unfolds like a hybrid of The Birdcage and Fawlty Towers, with naturally delivered dialogue that maintains the quick pace and keeps the laughs coming.

We meet Jim Watt… a man in finance, trust fund, 6'5", blue eyes. He is a bumbling, upper-class, slightly egotistical Brit with the emotional intelligence of a ham sandwich, attempting to win over his conservative boss by pretending to be married. Problem is—he’s not. Enter the exes, the current girlfriend, his attractive assistant, and finally, in a stroke of misguided brilliance, the eccentric cleaning lady who agrees to play wife for a fee. Cue carnage...

James Sheehan plays Jim with a brilliant mix of panicked desperation and childish daftness. He’s the kind of character who always looks like he’s about to either cry or combust, and it works a treat. His vocal projection is clear, his reactions are gloriously over-the-top, and he absolutely sells the man-on-the-edge energy needed for a farce like this. Jim lies with all the elegance of a toddler stealing cookies and watching him dig himself deeper and deeper is delicious fun.

Amanda Devlin shines as Helen, Jim's witty and justifiably frustrated girlfriend. Amanda infuses Helen both strength and sass, commanding the stage whenever she walks in with a withering stare that says, “Jim, honestly.” She’s sophisticated, clever, and the only one in the room who seems to be using her brain.

Then there’s Edna. Oh, Edna. Played with absolute joy by Julie Collins, she quickly becomes a crowd favourite with her gritty accent and unfiltered speech. Her transformation in Act Two, when she takes on the role of Jim's "much older" wife with a shocking new hairstyle, quirky outfit, and vibrant makeup, is the kind of unhinged delight I crave in live comedies.

Amelia Slatter, as Terri Pringle, Jim’s exceptionally eager secretary, brings so much sparkle to the character. She floats in like the picture of grace and charm, with the perfect mix of flirtation and a scheming glint in her eye. She owns every moment she’s onstage, and when she also shows up to pretend to be Jim’s wife (yes, that makes three in one night), the madness hits peak mayhem.

Rounding out the cast are Chris Guyler and Natalie Pedler, portraying Bill and Nancy McGregor, characters who arrive later in the show with pronounced Southern American accents and an aura of conservative elitism. Chris plays Bill with great authority, rattling off an avalanche of figures and stats like a man who dreams in stock exchange graphs. Natalie, as Nancy, is poised, charming, and plays beautifully off the others, making an adorably confused counterpoint to the British chaos around her.

The production design deserves a special mention. From the "Keep Calm and Carry On" pillows to a poster of Amanda as Ginger Spice, and Edna’s strategically-placed cheeky apron to Nancy's comically gigantic wedding ring, it creates a visually rich and cleverly constructed environment. Costumes by Serena Altea are the finishing touch—especially Edna’s makeover ensemble, Terri’s stunning blue gown, and Helen’s lingerie-chic elegance. Each item enhances the comedic impact just that little bit harder.

The show moves like a well-oiled machine—especially in Act Two, when the true farcical energy explodes. Even though some storylines seem a bit outdated and not politically correct by today's standards, they don't spoil the enjoyment. My only tiny gripe is the dance encore: “Always Look on the Bright Side of Life” is a cheeky British nod (and the appearance of Brian-on-the-cross outside the window got a solid chuckle from me) but it feels like an odd tonal shift after the story wraps. Fun, but a bit out of place.

No Dinner for Sinners serves up exactly what it promises—no dinner, lots of sinners, and a whole heap of hilarity. It is a loving tribute to classic British farce, packed with sharp performances and absurdly funny moments. It’s the kind of show that doesn’t take itself too seriously—and thank goodness for that. Sometimes, a bit of silly escapism is exactly what the doctor ordered.