The Grand Babylon Hotel - Mercury Theatre, Colchester

The Grand Babylon Hotel by Arnold Bennett, first published in 1902, is a brisk and entertaining mystery centred on the disappearance of a German prince. Loosely inspired by London’s Savoy Hotel, the story has now been reimagined for the stage by Deborah McAndrew and Conrad Nelson of Claybody Theatre, who also direct this inventive new production.

What emerges is a spirited and highly theatrical evening that deftly blends melodrama, physical comedy and farce. The production moves at pace, keeping the audience constantly engaged while allowing them to be in on the joke — the fourth wall is breached. .

A cast of just five performers takes on the entirety of the play’s characters, an ambitious choice that pays off handsomely. Bill Champion and Alice Pryor anchor the production as Theodore Racksole and his daughter Nella, the only roles that remain constant throughout. Champion, who seems surgically attached to his cigar, brings a commanding stillness to the stage, acting as an effective counterbalance to the surrounding comic chaos. Pryor adopts a deliberately heightened performance style—suggestive of an overly theatrical ingénue—which proves an effective contrast to the versatility of her fellow cast members.

Among those, Shelley Atkinson, Thomas Cotran and Michael Hugo demonstrate impressive range, each inhabiting multiple roles with clarity and comic precision. Atkinson is consistently engaging, coming into particular focus as Nanny Heidi. Cotran displays remarkable adaptability, shifting seamlessly between a jittery Englishman, a dignified German prince, and a melodramatic Italian chef with the added eccentricity of working as an embalmer on the side.

It is, however, Michael Hugo who provides the evening’s standout performance. Across a variety of roles—including a delightfully animated French ticket collector and the memorable Prince Eugen of Posen—his physical expressiveness and impeccable timing elevate each scene he inhabits. His work is a masterclass in comic control and character differentiation.

The production is further enhanced by its stylish use of music and choreography, which adds flair without distracting from the narrative. The lighting design is equally effective: clean, precise, and integral to the storytelling, helping to delineate scenes and support the play’s brisk transitions.

My only disappointment was the smaller than usual audience at the Mercury Tonight. This is a show that thrives on audience energy, and it merits far greater attendance. Those considering a visit would do well to secure a ticket—this is an inventive, thoroughly enjoyable piece of theatre that should not be missed. Get yourself a ticket now!