Da Vinci's Laundry

📷 Teddy Cavendish

If Leonardo da Vinci had turned his genius to writing a comedy instead of painting the Mona Lisa, it might have looked something like this — smart, stylish, and just eccentric enough to keep you on your toes.

Merle Wheldon’s direction was a masterclass in clarity. Every scene flowed naturally into the next, with not a single confusing beat or misplaced pause. The storytelling was tight, the pace crisp, and even in its more chaotic moments, it always felt like Wheldon knew exactly what kind of ride we were on. There’s something incredibly satisfying about watching a show where you can feel the director’s invisible hand guiding things — not controlling, just shaping.

Eleanor Wintour’s set design was genuinely impressive. The opening scene — a pristine home that looked like something out of a high-end gallery catalogue — set a perfect visual tone. With just a few cleverly choreographed chair movements and minimal props, we were seamlessly transported to a variety of locations. It’s the kind of thoughtful minimalism that makes you forget you’re watching a play — you’re just there.

📷 Teddy Cavendish

The costumes, also by Wintour, added a vibrant counterpoint to the clean white space of the set. Each character felt fully realised through their wardrobe — from the crisp elegance of Christopher’s suits to the expressive contrasts of Milly’s outfits. Every detail was clearly considered. The only moments that didn’t fully convince were the Prince’s look — something about it didn’t quite land for me — and the stage crew’s white painter suits splashed with what looked suspiciously like blood. A symbolic choice? A metaphor? A laundry accident gone wrong? Whatever the intent, it left me puzzled.

Jack Hathaway’s lighting design was nothing short of stunning. The use of visible and hidden lights gave the stage a sense of surprise and rhythm, pulling us between locations and moods without ever feeling heavy-handed. Hathaway managed to create atmosphere and momentum simultaneously — a rare combination. It was one of those designs that you only really notice because it works so well.

Ed Lewis’s sound design was functional and effective. The three shotgun mics along the front did their job nicely, keeping dialogue clear and well-balanced. While it didn’t necessarily elevate the show to new creative heights, it supported the action without distraction — and that’s no small feat.

Keelan Kember’s script was the real backbone of Da Vinci’s Laundry. Witty, fast-paced, and consistently engaging, it’s one of those rare pieces where every single scene actually matters. The humour lands hard and often, and the dialogue feels natural — the kind of writing that’s confident enough to be both clever and playful. The story builds steadily throughout, although at times the drama was played for laughs rather than emotional depth. Still, for a comedy, it packed more than enough punch.

📷 Teddy Cavendish

Keelan Kember also starred as Christopher, and his performance was every bit as refined as his writing. He embodied that quintessential English gentleman with a warmth and comic precision that made him instantly likeable. The tiny nuances — a raised eyebrow here, a perfectly timed pause there — all hit their mark.

Arsema Thomas as Milly was equally strong, giving a performance full of charm and complexity. Her characterisation felt deeply grounded, and her chemistry with Kember was electric. I did find myself wanting a slightly bigger emotional reaction from her in the breakup scene, but that might just be my inner hopeless romantic looking for heartbreak where there was meant to be humour.

John Albasiny brought wonderful texture to Boris, a character who somehow straddles the line between loveable and intimidating. His blend of “gangsta swagger” and genuine heart was spot-on — it’s a tricky balance to strike, but he made it look effortless.

Steve Zissis as Tony was pure energy from the moment he stepped on stage — a whirlwind of over-the-top American bravado, impeccable comedic timing, and irresistible charm. Every scene he touched lit up. There’s no question he was the standout performer of the night.

And finally, Fayez Bakhsh as Prince brought a quiet sincerity that balanced out the show’s chaos. I only wish we’d seen more of him — his final scene didn’t have the emotional impact it might have because we hadn’t spent enough time with his character. That said, his performance had a dignity and subtlety that added real texture. A bit more humour could have helped bridge the tonal gap, but he was a welcome presence nonetheless.

Da Vinci’s Laundry is a clever, funny, and surprisingly heartfelt production that balances artistic style with emotional substance. The direction is precise, the design thoughtful, and the performances — particularly from Zissis and Kember — absolutely shine. It’s a production that feels both modern and timeless, one that knows exactly what it’s doing and does it very well. You might leave wondering about the painter suits, but you’ll also leave smiling — and maybe even thinking a little deeper than you expected to.