Even if you’ve never witnessed Charlton Heston lashing his foaming steeds in William Wyler’s 1959 blockbuster movie, the words “Ben Hur” have an unmistakably epic ring, so when the Barn Theatre announced their programme for 2020 I was really excited about their take on it.

I thoroughly enjoyed the 2019 Built by Barn Production of The 39 Steps, which was also written by Patrick Barlow, so I had an idea of the sort of style of show this would be. It was going to be epic. Or as their very funny trailer suggested the epicist epic ever Epiced!

The Barn Theatre’s take on Ben Hur is a madcap comedy about four actors trying to stage the epic tale with all its grandiose chariot, Coliseum and galley ship scenes. How could Daniel Veil stage such a vast tale with only four actors?

Liam Horrigan plays the wonderfully pompous and ineffable luvvie, actor/manager Daniel Vale, with verve and gusto, assuring everyone that it isn’t a problem especially as he would be starring in the play, which he is also directing. So, Veil and his hapless fictional thespians race to keep up with the story in rapid scene and costume changes with a slew of comical errors, astute comic timing and some brilliant stagecraft hacks getting up to all sorts of barely controlled mayhem both on stage and off. Three Wise Men in camel suits kick off a production of farcical hilarity and high energy that doesn’t let up for one minute until the conclusion.

The show is fantastically supported by a quick-changing cast, Bronte Tadman, James Dinsmore and Devarnie Lothian who do the work of thousands, along with the smouldering five-star performance of Liam Horrigan as Ben Hur.

Devarnie Lothian – Omar Lord, moves with consummate ease through his many different roles at break-neck speed. All were a joy to watch, especially the sadistic and pompously earnest Messala. Ageing actor Edgar Tiberius Chesterfield played by James Dinsmore is a former thespian brought out of retirement to marvellously embody the roles of Roman admiral Quintus Arrius and Judah’s leprous old mum, Sara among others, adding magnificently to the comedy of his characters. Crystal Singer, (Bronte Tadman) plays out her many characters with swift changes of voice, costumes, and love interest. Tadman amply demonstrated her ability as an actor with this comedy genre, throwing herself into the varied roles. It also underlines her versatility having just returned to the Barn after appearing in their hugely successful recent production of A Christmas Carol.

Justin Williams’ stage design is dominated by a large centre piece of huge letters spelling out the title Ben Hur, flanked by Roman columns. The interactive nature of the design allows the cast to seamlessly act out the scenes enabling the saga to unfold around it.

Patrick Barlow’s adaptation of General Lew Wallace’s novel is daft as a brush. A hysterical tossed salad of corny jokes, mangled language, wordplay and tongue twisters. The show is a joyful piece of light entertainment full of belly laughs, excellent cast and a speed-of-light pace.

The conceit of a bumbling theatre company staging a play badly is old hat, of course, but this show is hilarious and a laugh out loud experience from the start to the end. How funny you find it depends on your taste for silliness, but the Barn Theatre audience went wild and cheered to the thrills of the chariot-race finale, performed – like most of the show – with a manic ingenuity. Watch out for the Mexican Wave!

The production took us from ancient Rome, to the desert, Jerusalem, the sea and the audience even helped recreate the epic sea battle by rowing hard as galley slaves. And, of course, finally to the Circus Maximus. It all moved with pace and a lightness of touch that neither overplayed nor missed any of the humour of the piece. Laugh followed laugh and the ensemble took on their roles with a seriousness that only enhanced the ridiculous silliness of it all still more. Credit too to the prop makers, most notably for the two mobility scooter chariots, which “raced” around the stage.

Barlow’s conceit is a nifty one, and familiar from other comedy favourites like, The Play That Goes Wrong, but you’ve got to be good to be bad and director Joseph O’Malley keeps an admirably tight rein on proceedings, brilliantly bringing out the best in everyone. O’Malley, now a stalwart of the Theatre is a safe pair of hands for this type of insane humour having previously directed two successful similar shows at the Barn in 2018, The Hound of the Baskerville, and last season’s incredibly popular production of, The 39 Steps. If you liked either of these productions, then you will definitely fall in love with this one. I laughed until my sides hurt!

The Barn Theatre faithful had come to be amused - and they were; and this show fully merits the standing ovation it got at the end. A high five to all concerned!

The best show yet!