We’re in that realm where a close-knit, usually rural community or simply folk with ‘decent’ values are juxtaposed with the economic imperatives of the wicked outside world. Often, as here, that world is represented in the guise of the Hollywood money making machine, but it could equally be big business. As a repeating trope it’s a typical Aunt Sally that pops up from time to time; in film, we think for example of Local Hero or Notting Hill.

Here we find ourselves in rural Ireland in a small town that has been blessed with being chosen as the location for a big budget Hollywood film. The leading lady is a famous beauty who tickles the erotic imaginations of a couple of the local lads who have been taken on, with apparently most of the other locals, as extras.

The theatrical conceit is to have our two likely lads doubling up as all the other characters including leading lady, director, assistant director and other extras. With a pirouette, a swipe through their hair to signify a change and perhaps the removal of a jacket the two, Jake (Owen Sharpe) and Charlie (Kevin Trainor, bounce along with a relaxed energy and the richly textured language that so often distinguishes Irish characters.  The first act is taken up with young men’s – usually unattainable – erotic musings and the daydreams of a future identity that lies elsewhere than their home town. Seemingly inexplicably the leading lady takes a shine to Jake, who thinks he’s in with a chance of some kind of sexual encounter. The reality is that he is simply being used as a reference source for an authentic local accent. Charlie, who harbours dreams of being a scriptwriter, gives Jake a copy of his film script in the hope that the leading lady might in some way be able to advance his prospects. Unsurprisingly it all comes to nought.

Tensions arise between the extras and production company in act two after the apparent suicidal drowning (with stones in his pocket) of one of the locals who had been slighted and humiliated by being thrown out of the pub by the star, Caroline, because of  his unwonted attention. Local custom demanded a proper wake, the timing of which would clash with the film’s shooting schedule, any disruption to which would cost many thousands of pounds. Charlie sees the tragedy as the key to his own script which he rewrites and submits only to be told it lacked any commercial value.

The fun in this production comes from the instantaneous quick changes and deft characterizations which occasionally left one wondering who’s what where, so seamless were they. The current show gives Bath audiences a chance to see a show which has conquered both the West End and Broadway.     ★★★☆☆    Graham Wyles  12^th March 2019