You walk into the Southwark Playhouse in Elephant and the set immediately catches your eye. It’s glamorous, glitzy, and dripping with Old Hollywood style which is exactly what you’d expect, since the play is set in the 1950s.
The Code is a witty, funny, and dazzling production that strips away the shimmering surface of Tinseltown to reveal something much darker lurking beneath. And here’s the surprising part it’s only a four-hander, yet it feels rich, layered, and full of life.
The play is brilliantly written by Michael McKeever and directed with flair by Christopher Renshaw.
The magnificent Tracie Bennett plays Tallulah Bankhead, stumbling onto the stage and taking command straight away as narrator and performer. You can immediately see why she’s Olivier-nominated her performance is magnetic. She’s got charm, presence, and a wicked sense of humor that lights up every scene.
Then there’s John Partridge, who delivers a compelling turn as Billy Haines, a star constrained by the rigid rules of Hollywood. I hadn’t really seen much of John’s acting before, but here he shows a deeper, more serious side. He captures the resilience of a man who refuses to bend to the system, and I admired that about his performance.
Nick Blakeley takes on the role of Henry Wilson, and what a tricky character that is. By the end, you can’t stand him which is exactly why the performance works so well. He brings to life the manipulative, ugly compromises that Hollywood demanded of its stars.
And Solomon Davy as Chad Manford deserves credit too. His role is layered and complex, and he delivers it with real nuance. He feels like the kind of actor to watch out for in the future.
What impressed me most was how well the whole cast worked together. The chemistry was sharp, the energy constant, and the story well, I loved it. It felt fresh and original, exactly the kind of play that Off-West End theatres should be championing. Maybe that’s why I’m such a fan of this scene: it’s where creativity and risk-taking are allowed to shine.
Honestly, I’d pick this play over something like The Devil Wears Prada, Back to the Future, or even Hercules. Big shows are fun, sure, but The Code has something else bite, boldness, and heart. It’s the kind of theatre that makes you think long after you’ve left your seat.