REVIEW - OH ZEUS! | LOWRY | 28/07/2026
- Sarah Monaghan
- 3 minutes ago
- 6 min read
OH ZEUS! AT THE LOWRY – A HILARIOUS MYTHOLOGICAL FARCE FILLED WITH LAUGHS
Oh Zeus! is the latest production from Le Navet Bete, the award-winning theatre company renowned for their inventive blend of physical comedy, farce and larger-than-life characters. Having previously enjoyed their production of King Arthur when it toured in 2024, I was looking forward to seeing what they would do with the wonderfully eccentric world of Greek mythology. Formed in 2008 by Al Dunn, Matt Freeman and Nick Bunt, the company has built a strong reputation for creating imaginative productions that combine visual comedy, audience interaction and fast-paced storytelling, regularly collaborating with Olivier Award-nominated director John Nicholson.
For their latest adventure, Le Navet Bete turn their attention to the gods of Mount Olympus. Rather than retelling a familiar myth, Oh Zeus! presents an original story in which Zeus attempts to prevent his daughter Hebe from marrying a mortal. The production affectionately pokes fun at the eccentric world of Greek mythology, bringing together larger-than-life characters, comic misunderstandings and plenty of mythical mayhem.
The story centres on Zeus, who is far from thrilled when his daughter Hebe announces she intends to marry Gregg, a cheerful mortal who owns the rather questionably named Hotel Krapios. Determined to stop the wedding at any cost, Zeus sets a series of increasingly absurd events into motion, taking gods, mortals and mythical creatures on an unpredictable adventure that eventually leads all the way to the Underworld.
Rather than relying on a complex plot, the production thrives on its brilliantly crafted comedy. The script keeps the action moving at an energetic pace, with misunderstandings, mistaken identities and increasingly ridiculous situations unfolding one after another. Fans of classic British farce will recognise familiar ingredients throughout, from perfectly timed entrances and exits to visual gags and clever physical comedy.
Greek mythology provides a rich source of material for the writers, who have great fun exaggerating the gods' larger-than-life personalities while weaving in modern references that feel surprisingly natural. The humour is varied, balancing witty dialogue with visual comedy, playful innuendo and recurring jokes that reward audiences as the story unfolds.
Audience participation is woven naturally into the performance and never feels forced. Instead, it enhances the comedy, creating spontaneous moments that showcase the cast's quick improvisation while making each performance feel slightly different.
The first half establishes an excellent rhythm, with one comic set piece flowing effortlessly into the next. As the action moves into Hades after the interval, the pace eases slightly, and trimming one or two scenes could have kept the momentum quite as sharp. Even so, there are still plenty of laughs to be found before the production reaches its entertaining conclusion.
Fi Russell's set design provides the perfect backdrop for the production's fast-moving comedy. Beginning on the heights of Mount Olympus before transforming into the delightfully named Hotel Krapios and eventually the Underworld, the set evolves effortlessly as the story unfolds. Multiple levels, balconies, doorways and hidden entrances are cleverly incorporated into the design, creating endless opportunities for perfectly timed entrances, exits and visual gags that are essential to the show's farcical style.
Inspired by classical Greek architecture but with a deliberately exaggerated theatrical style, the set is both colourful and highly functional. Every element feels carefully considered, allowing the performers to make full use of the space while ensuring the comedy never loses momentum. Whether characters are disappearing through hidden doorways, unexpectedly appearing from another part of the stage or racing between scenes during frantic costume changes, the set becomes an active part of the storytelling rather than simply a backdrop.
The lighting design by Stuart Billinghurst helps define each location while adding to the larger-than-life feel of the production. Warm golden tones capture the sun-drenched atmosphere of Greece before the palette shifts dramatically as the action moves into Hades, where deep reds, smoke effects and flashes of lightning create a suitably dramatic contrast. Smaller lighting effects are also used to great comic effect, enhancing the humour without ever distracting from the performances.
Fi Russell's costumes are another standout feature. With more than 30 characters brought to life by just three performers, each costume instantly establishes a character's personality, from flowing Grecian robes and glamorous gowns to wonderfully outrageous mythical creations. The colourful designs perfectly complement the production's playful tone while making it easy for the audience to follow the constant stream of new characters.
Perhaps the most impressive achievement is the speed of the costume changes. Characters vanish from the stage only to return moments later as someone entirely different, complete with a new costume, wig and physical mannerisms. Watching these seemingly impossible transformations unfold becomes part of the entertainment itself, with the audience left wondering how the company manages to keep everything running so seamlessly.
Music is used sparingly but effectively throughout the production, with a selection of parody songs adding another layer of comedy. Familiar melodies are given humorous new lyrics that fit perfectly with the irreverent tone of the show, providing some memorable musical moments without interrupting the pace. Rather than feeling like standalone numbers, the songs become a natural extension of the comedy, helping to maintain the production's playful energy from beginning to end.
With just three performers taking on more than 30 characters between them, the cast delivers an extraordinary display of versatility, energy and comic timing. The sheer number of costume changes and character transformations is impressive in itself, but what makes the performances so successful is that every character feels distinct. Through changes in voice, physicality and personality, the trio create a colourful cast of gods, mortals and mythical creatures, ensuring the audience never loses track of the story despite the whirlwind pace.
Al Dunn is excellent as Zeus, portraying the King of the Gods as a larger-than-life figure whose immense power is matched only by his stubbornness. His comic timing is spot on throughout, balancing Zeus' commanding presence with moments of wonderfully exaggerated frustration as his increasingly elaborate plans begin to unravel. Dunn also slips effortlessly into several additional roles, demonstrating impressive versatility while maintaining the production's relentless pace.
Nick Bunt brings genuine warmth and sincerity to Gregg, the unsuspecting hotel owner who finds himself caught in the middle of divine chaos. His endearing performance provides an effective contrast to the eccentric personalities surrounding him, giving the audience a character to root for as events spiral further out of control. Like his fellow cast members, Bunt moves seamlessly between multiple roles, each one clearly defined despite the rapid-fire costume changes.
Matt Freeman delivers many of the production's biggest laughs with a wonderfully varied collection of characters. His glamorous portrayal of Hera is full of confidence and comic flair, while his energetic performances as several other larger-than-life characters showcase both his versatility and impeccable physical comedy. Whether delivering a perfectly timed line or throwing himself into the show's more absurd moments, Freeman's commitment never falters, making every appearance memorable.
Perhaps the most impressive aspect of the performances is the chemistry between the three actors. Having worked together for many years, Dunn, Bunt and Freeman display an instinctive understanding of one another's timing, allowing the production's carefully choreographed mayhem to unfold effortlessly. Their enthusiasm is infectious, and it's clear they are enjoying every moment on stage, making it impossible not to be swept along by the fun.
Oh Zeus! at The Lowry is an imaginative and thoroughly entertaining comedy that fully embraces its wonderfully ridiculous premise. Combining inventive staging, fast-paced physical comedy and outstanding performances, Le Navet Bete once again demonstrate why they have become one of the UK's most distinctive comedy theatre companies.
Although the second half doesn't quite maintain the same relentless pace as the first, the quality of the performances, clever writing and imaginative production ensure there is never a dull moment. From the inventive set and lightning-fast costume changes to the playful audience interaction and endless stream of visual gags, every element works together to create a production that feels far bigger than its cast of three.
Whether you're already a fan of Le Navet Bete or discovering their work for the first time, Oh Zeus! offers a joyful evening of escapist entertainment that celebrates the wonderfully bizarre world of Greek mythology with wit, creativity and plenty of laughs. It's a production that never takes itself too seriously and is all the better for it.
A wonderfully chaotic mythical comedy packed with inventive physical theatre, memorable performances and plenty of laugh-out-loud moments.
Oh Zeus! will be at The Lowry until Saturday 1st August 2026. Tickets are available using the link below.
For more information about the production, including tour dates and show details, visit the official website below.
Photo Credit - Mark Senior
*Our tickets for this show were kindly gifted in exchange for an honest review.
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