Review: A Role To Die For at Marylebone Theatre

⭐⭐⭐⭐ (Four Stars)

Following its initial run at the Barn Theatre in Cirencester, A Role To Die For makes a confident and charismatic transfer to the Marylebone Theatre. Jordan Waller’s satirical script plunges us into the high-stakes and chaotic world of casting the next James Bond. With director Derek Bond keeping the tone breezy and the pace brisk, the result is an enjoyably irreverent comedy that playfully takes aim at the culture of Hollywood, cancellation, and the impossible task of pleasing everyone.

At the centre of the action is Deborah (Tanya Franks), the formidable daughter of the man behind the James Bond franchise, who now carries the weight of continuing this legacy. On the eve of announcing the next James Bond actor, a PR crisis explodes when her "nepo baby" son Quinn (Harry Goodson-Bevan) reveals that their seemingly perfect choice has been publicly cancelled for inappropriate conduct. With her tightly-wound co-producer Malcolm (Philip Bretherton) by her side, the trio must scramble to find a replacement before the high-profile announcement event the next day.

Franks gives a commanding performance, blending steeliness with flashes of vulnerability as a woman trying to live up to a mythic inheritance. Bretherton is the perfect counterpoint to her, all flustered nerves and “flapping”. Together, they generate a delightful comic chemistry, particularly in scenes where Deborah’s no-nonsense pragmatism meets Malcolm’s mounting panic. 

Waller's script is packed with zippy one-liners and Bond references, but never alienates the uninitiated: even without any prior James Bond knowledge, the cultural references land cleanly. Meanwhile, Derek Bond’s direction keeps the energy buoyant and the pacing tight throughout. 

Cory Shipp’s set design sees the stage transformed into two contrasting spaces: Deborah’s richly decorated office, full of wood panelling, green velvet, and framed James Bond posters, and a sleeker brainstorming area brought to life by Matt Powell’s video design. The set transition montage sequence, while conceptually fun, slightly loses its sheen where the visible set changes interrupt the illusion. A touch more slickness here would elevate an otherwise strong visual moment.

At its core, A Role To Die For thrives on its smart premise: the frantic, behind-the-scenes scramble to cast an icon as culturally significant as James Bond. By framing this task as an inherited responsibility, the play adds depth to the comedy, exploring the pressure of upholding a legacy that’s both personal and public. It’s a sharp and funny take on what happens when one family holds the keys to a global phenomenon.

A Role To Die For runs at Marylebone Theatre until 30th August 2025.

Photos by Steve Gregson