King’s Head Theatre, Islington
Rating: 




Dan Castellaneta, the voice of Homer Simpson is the star of The Bicycle Men; a fact so noteworthy that it is prominently featured on the play’s advertising material. It seems to be a successful marketing ploy, as the small theatre is packed. If they’re hoping to see the real-life Homer, they are in for a disappointment: Castellaneta sounds nothing like his yellow alter ego.
An American tourist, Steve, is stranded in an eccentric French village while he waits for his bike to be fixed. This simple premise provides the backdrop for a series of tenuously related musical skits, lampooning religion, race relations, and (of course) the French.
The performance from the four-strong cast is strong, but the absurd nature of the overarching plot is deeply unsatisfying. In an early scene Castellaneta sings to a baby that life has no meaning beyond what we give it. His words could as easily be spoken about the play.
The Bicycle Men lacks focus. Too many of its characters are hackneyed stereotypes – grumpy storekeepers, comic mimes and overfamiliar waiters – for the production to be playing it straight, but a successful parody needs to be sharp and fresh, and The Bicycle Men is neither.
Scene changes are accompanied by assorted scenes of physical theatre; Dan Castellaneta jerks sporadically round the stage as his fellow cast members swing the furniture about him. These confusing interludes completely disrupt the production’s flow, while adding nothing to its material.
The production is puerile and sporadic, unable to decide whether it likes cheap sex jokes or is sending them up. Its incorporation of diverse styles of theatre and presentation is the same: there is no way to tell what’s in earnest and what is being parodied. The overall effect is that of a jumble of ideas and approaches thrown out to the audience, in the hope that each member will find something they like.
Instead, they largely walk out mumbling: “Which one was Homer Simpson then?”