Bane looks to relocate and start anew in a new town, a town so idyllic no one would expect to find him there: Sunnyview. Comic snatches of life in suburbia conjure up images reminiscent of the squeaky clean, pastel town of Tim Burton’s
A host of brilliant characters, including an apoplectic French chef and a menacing, whispering wisp of a hitman, all serve to whip the story up into another wacky, but wonderfully astute piece of theatre.
This third instalment of the series is distinctly lonelier in mood; Bane is questioning his life as a hitman, the memories of the death of his friendly neighbour, Neil, haunt him each time he goes to his door. But after a suspenseful opening, it doesn’t take long for the story to descend into Bane’s characteristic madness. Joe Bone treats us to more increasingly hilarious, absurd circumstances, and his energy and skill as a performer is astounding. Bane enters a dance competition with one of his enemies; he finds a life-saving use for the world’s biggest cushion. A host of brilliant characters, including an apoplectic French chef and a menacing, whispering wisp of a hitman, all serve to whip the story up into another wacky, but wonderfully astute piece of theatre.
Ben Roe’s soundtrack once again delightfully accompanies the action, adding drama, suspense and spikes of humour into tense scenes with ease.
The show drew to a close this time on a very dark, melancholic note that drew audible emotion from the audience. Bane demonstrates the power of story and performance and once again Bone and Roe delivered a masterful, memorable piece of theatre.
