The Man Who Was Thursday review; gripping storytelling meets joyous comedy

Looking for a whodunnit with a comedic edge?

Adapting G.K. Chesterton’s surreal and philosophical novel The Man Who Was Thursday into an hour-long stage show is no small feat. The source material is dense, filled with symbolism, metaphysical themes, and a shifting sense of reality. It could easily become muddled or overly serious in less capable hands. But production company, The Department of Ulterior Motives, has approached the adaptation with clarity, creativity, and comedic flair. It feels as though the story was written for the stage.

A multitude of characters, performed by a few

With a small ensemble cast taking on a variety of characters, the play never once felt limited by its size. In fact, it was one of the production’s most charming aspects. Each actor brought a brilliant versatility to the performance, and everyone was a suspect. The cast used physicality, accent shifts, and costume changes to signal character changes, often to hilarious effect.

A character I found particularly captivating was Monday, also known as the Secretary of the Anarchist Council, played by Zarrina Danaeva. Fantastically intimidating. Her commanding presence, and entertaining line delivery, created a character who was both chilling and deeply funny. Determined to assassinate the Prime Minister, Danaeva’s performance managed to retain a sense of villainy while still participating fully in the slapstick absurdity. Her portrayal grounded the play in a kind of credible threat, allowing the stakes to feel real, even when the story’s logic veered into the delightfully ridiculous.

Other cast members, such as Esther Dracott and Micky Knighton, who played honorary detective Rosamond and impersonator Friday respectively. The pair demonstrated exceptional range and agility. Notably when performing a home invasion, in which the dynamic duo worked together to investigate their fellow council member. Their on-stage chemistry shone through in scenes of rapid-fire dialogue, physical comedy, and even a mock car chase (performed entirely without a car!)

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Open air theatre at its best

The Brighton Open Air Theatre is a unique venue – beautiful, but unpredictable. Performing outside always presents a risk; rain can suddenly appear, lighting can’t be controlled, sounds from nature and the nearby world can interrupt, and the absence of a traditional stage setup can make conventional blocking a challenge.

Yet, the cast used the space to their advantage. Actors darted in and out of the audience, using the full breadth of the theatre in a way that felt exciting and immersive. At times, the fourth wall was not just broken but obliterated, a choice that felt perfectly aligned with the chaotic, topsy-turvy tone of the production. These moments of audience interactions never veered into awkwardness. Instead, they invited us further into the world of the play.

Rather than being thrown off by external factors, the performers seemed to thrive on the unpredictability. There was a kind of spontaneous energy to the show that can only come from live theatre, and the cast embraced it wholeheartedly.

Simplicity and imagination

With only a few simple props – a stool, a steering wheel, asword, and a pretend bomb – the actors were tasked with creating entire worlds through suggestion and performance alone. This reliance on imagination made the action feel even more alive. One moment, we were on a train; the next, in the middle of a bomb scare,or a philosophical debate. The quick transitions were pulled off with clarity and humour, keeping the pace snappy and the audience on their toes.

A standout in this area was the inventive use of physical theatre. Scenes like the imaginary car chase were choreographed with such wit and energy that the lack of actual vehicles was completely irrelevant. Through movement, expression, and a bit of theatrical magic, the audience was easily swept along.

A balance of chaos and clarity

At its heart, The Man Who Was Thursday is a strange story. It teeters between thriller and farce, existential drama and comedy of manners. What this production nails is thebalance-allowing for big laughs without losing the sense of mystery and narrative tension.

The variety of characters provide something for everyone. I loved the mystery of Sunday’s hidden identity. For those seeking drama, characters like Monday offer suspense and conflict. For those craving comedy, the Marquise delivers one-liners with biting precision. As for the story’s philosophical underpinnings, Rosamond and Friday serve as guides through the chaos, delivering exposition with flair.

Worth a visit?

Absolutely. This is a production that trusts its performers – and rightly so. Every member of the cast brings something essential to the table. The storytelling is sharp, the humour lands, and the energy is infectious. It’s both a love letter to Chesterton’s novel and a boldly original take that makes the story feel new again.

I loved it. The Department of Ulterior Motives has managed to create a theatrical experience that is smart, self-aware, and unashamedly fun. It’s rare to find a production that makes you laugh, think, and marvel at the sheer inventiveness of theatre, but this one does exactly that. I can’t wait to see what they do next.

For more shows from The Department of Ulterior Motives, click here