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REVIEW | A Role To Die For, Marylebone Theatre - London
- Harry Brogan
- Aug 1
- 3 min read
Updated: Aug 2
AD | tickets gifted in exchange of an honest review
If you’re a fan of sharp, fast-paced comedy packed with swearing, innuendo, and pointed social commentary, plus a love of all things Bond, then A Role to Die For delivers most of that with style. Tanya Franks stars as Deborah, the no-nonsense American daughter of the original Bond agency founder, who’s suddenly thrown into crisis when her chosen James Bond actor is hit by scandal just hours before she is due to publicly announce who the newest actor to play Bond will be. With only 22 hours, Deborah must find a replacement to protect her family’s legacy and the future of the franchise.
Tanya Franks gives a powerhouse performance, foul-mouthed, fierce, frantic at times, and showing the deep pressure the character is under. Deborah is far more than just a PR exec, she’s the no-nonsense, strategic heart of the play, balancing stubborn loyalty to Bond tradition with the need to adapt in a changing world.
The script, by writer Jordan Waller, is sharp and funny, loaded with quick-fire jokes and Bond-savvy references that had the audience laughing. One of the best lines: Just ‘Lazenby’ him, cheekily recalling the famously short-lived 007. Other crowd-pleasers are all the swearing and slapstick comedy. However, the play doesn’t dodge the fact that James Bond, as a character, is deeply un-PC—sexist, colonial, and outdated and this story uses that for biting satire throughout. This isn’t just a farce; it’s a commentary on legacy, representation, and cultural change, wrapped in innuendo and plenty of naughty words.
That said, the A Role To Die For is definitely aimed at an audience familiar with Bond. Without some knowledge of the character’s history and clichés, a lot of the puns and jokes risk flying over your head. Bond fans will appreciate the layered humour and the sharp, affectionate critique.
The supporting cast are solid and well-cast. Philip Bretherton plays Malcolm, Deborah’s cautious cousin obsessed with “algorithms” and formulas to find the perfect Bond. Harry Goodson-Bevan is Quinn, Deborah’s socially conscious, eco-friendly son who pushes for a more progressive future. Obioma Ugoala brings warmth and subtlety as Theo, a reserved Cambridge graduate unexpectedly thrust into the Bond race. Theo’s quiet dignity and modern values offer a sharp contrast to the family’s frantic old-school ways, and his presence injects a fresh perspective on what an actor playing Bond could be.
The physical comedy adds a lively layer: there are frantic phone calls flying around, bean bags, and a kind of chaotic energy that fits the crisis well. Director Derek Bond (yes that's really his name) keeps the pace brisk and the jokes sharp.
The set, designed by Cory Shipp, is clever in concept: a wood-panelled office that rotates to reveal a 1960s-style screening room. However, the execution of scene changes were a bit wobbly and slowed the pace. The wood panels looked dated, and the transitions were occasionally clunky, standing out against the sharpness of the performances.
The second half starts strong, particularly as Theo’s inclusion challenges the family’s ideas about who Bond should be. But then the tone stumbles. Deborah’s sudden, angry outburst feels abrupt and unearned, disrupting the flow. What follows is a long, sombre monologue that, while performed with real feeling, doesn’t match the play’s earlier sharp, satirical energy. This tonal shift slows the momentum, making the ending feel less cohesive and a bit rushed.
Despite this, the production is packed with memorable lines, strong performances, and plenty to think about. The themes of legacy, identity, and representation feel very timely, especially given that the real James Bond franchise recently moved from family ownership into corporate hands.
Overall, A Role to Die For, is a well-written, well-acted show that balances filthy jokes and cultural critique with heart. If the second act had maintained the energy and wit of the first, it would be an easy 4-star. As it is, it’s a hilarious, entertaining and thought-provoking evening with plenty of laughs and some rough edges.
★★★.5
A Role to Die For is playing at the Marylebone Theatre, London until the 30th August
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