Derrière on a G String is a riotous new comedy that turns the world gloriously upside down. Set to some of the most famous pieces ever written, this fast-paced show unleashes a wildly inventive sequence of visual sketches packed with physical comedy, outrageous characters, and moments of deliciously naughty mischief. Think the anarchic spirit of Laurel and Hardy, the surreal silliness of Mr Bean, and the sharp comic timing of Mitchell and Webb – all colliding in a gleefully ridiculous celebration of life’s most awkward, absurd, and unexpectedly intimate moments.
Created by Some Smith and Moore, this original 75-minute show tells its stories without words, using movement, timing, and impeccable comic invention to transform familiar music into some thing wildly playful and completely unpredictable.
Part slapstick, part visual comedy, and entirely cheeky, Derrière on a G String promises an evening of laugh-out-loud chaos that leaves both classical music and good taste.
Review by Richard Lambert
I have to admit, this was not what I expected at all. From the title, artwork, and synopsis, I had braced myself for something in the vein of Briefs — a cheeky late-night cabaret stitched together with circus and burlesque flair. What unfolds instead is something far more singular: a riotously inventive blend of virtuosic dance, razor-sharp sketch comedy, and exquisitely timed physical theatre, all set against a soundtrack of instantly recognisable classical music motifs. The technique is immaculate, the performances magnetic, and the comedy lands with effortless precision.
What a gloriously original production this is. At King’s Head Theatre, the programming this season feels as though it is finally crystallising into something truly exciting. Following the brilliance of Already Perfect and with What’s Wrong With Angry? returning, the theatre seems to be rising phoenix-like from the ashes, reclaiming its place as one of London’s most adventurous and vital venues. Derrière on a G String, previously seen at the Lilian Baylis Studio at Sadler’s Wells, surely marks the first ever transfer from Sadler’s Wells to the King’s Head — a wonderfully unexpected journey that somehow feels entirely deserved.
The direction and choreography are utterly sublime, performed with breathtaking commitment and finesse by this company. The set design is ingenious in its versatility: every prop, platform, and flourish feels purposeful, nothing wasted, nothing superfluous. The costumes are extraordinary — an endless parade of transformations and theatrical surprises. Given the title, one might expect little more than a procession of G-strings, but instead the wardrobe rivals a Paris runway show in both imagination and extravagance. Lighting moves seamlessly between cabaret intimacy, theatrical spectacle, and contemporary dance aesthetics, while the sound design is perfectly judged: rich and immersive without ever overwhelming the space.
Most fascinating of all is the performers’ choice to communicate through spoken English. In keeping with traditions found in contemporary dance and physical theatre, emotion is conveyed instead through breaths, sighs, hums, cries, squeals, and instinctive vocalisations. What could easily have become abstract or self-indulgent is handled with remarkable wit and clarity. It is gloriously tongue-in-cheek, unexpectedly hilarious, and — somehow — entirely comprehensible. One suspects there may even be affectionate satire at play, perhaps aimed at some of the choreographers and teachers who shaped the performers’ artistic lineage. So many great ideas with sketch after sketch just rammed full of comedy.
This is, without question, my favourite production of the year so far. It is insightful, outrageous, intelligent, and joyfully funny, all while showcasing choreography and dance of the highest calibre. Don’t let this dazzling gem slip past you unnoticed — and honestly, it rewards a second viewing just as richly as the first.
Sammy Moore, Cam Tweed, Ryan Upton
Alice O’Brien, Courtney Cyrus, Ena Yamaguchi
Photo credit: Charlie Flint
Cast
- FLOP — Sammy Moore
- GRUNT — Ryan Upton
- VINYL — Ena Yamaguchi
- DRIP — Cam Tweed
- TWITCH — Courtney Cyrus
- SLOSH — Alice O’Brien
Creatives
- Writer / Creator — Some Smith and Moore
- Director / Choreographer — Alfred Taylor-Gaunt
- Assistant Director — Sammy Moore
- Assistant Choreographer — David Rhys
- Musical Arranger — Luke Bateman
- Lighting Design — Andrew Ellis
- Sound Design — Findlay Claydon
- Set Design — Emily Bestow
- Costume Design — Reuben Speed
The production runs from 6 May to 7 June 2026 at the King’s Head in Islington.
Sammy Moore starred previously in Derrière on a G String at Sadler’s Wells, Endgame by Beckett (Edinburgh Fringe) and Games and After Liverpool (EdFringe & London). His Film and TV credits include Evermoor Chronicles (Disney), Father Brown (BBC), Haunted (Netflix), Carters Get Rich (Sky), Sadie Sparks (Disney).
Cam Tweed is a five-time Tap World Champion. His theatre credits include Billy in Big (UK Tour).
Ryan Upton trained at the Northern Ballet School then danced with Mystic Ballet in Connecticut, USA with principal and soloist roles in The Nutcracker and Little Mermaid. He was dance captain in the West End production of The Snowman and recently appeared in Disney’s Tarzan the musical in Germany.
Alice O’Brien recently danced in the UK tour and Broadway performances of Quadrophenia: A Rock Ballet and Matthew Bourne’s Edward Scissorhands.
Courtney Cyrus appeared as Jacque in Beauty And The Beast (Baths Hall, Scunthorpe) and Candlewick in Pinocchio: A New Musical. Courtney’s talent was recognised by London’s Southbank Centre, who
selected him as one of their exclusive street entertainers. He now performs his own street show combining singing, comedy and banjolele. He has 95k followers on TikTok.
Ena Yamaguchi was Eliza in Rodgers and Hammerstein’s The King and I at the London Palladium, directed by Bartlett Sher. The production toured nationally and internationally. Other West End theatre credits include Cabaret at The Kit Kat Club (Prologue cast).
Alfred Taylor-Gaunt (Director/Choreographer)
Alfred Taylor-Gaunt is a British director, choreographer, and producer whose work spans musical theatre in the UK and internationally. His work includes credits in New York and the West End, including
producing The Fabulist Fox Sister on 42nd Street and choreographing Ride at the Garrick Theatre. Most recently, he was Assistant Director on the new musical Already Perfect (King’s Head Theatre).
Emily Bestow (Set Designer)
Emily is a set and costume designer with over 10 years’ professional experience designing for live performance. Recent credits include Stalled the Musical (King’s Head Theatre) and Pop Off, Michelangelo! (Underbelly Boulevard Soho).
Andrew Ellis (Lighting Designer)
Andrew is an award-winning lighting designer of ballet, contemporary dance, musical theatre and concerts. Recent credits include the The Mongol Khan (London Coliseum, Marina Bay Sands in Singapore and Tokyo’s Forum Hall). He is a regular designer for ballet and contemporary dance with this year’s 20th anniversary production for Balletboyz Still Pointless opening at Sadler’s Wells in May 2026 and touring the UK.
Findlay Claydon (Sound Designer)
Credits include: Amélie (Bernie Grant Arts Centre); Merrily We Roll Along (Playground Theatre); It’s The Economy Stupid (Soho Theatre/UK Tour); The Suicide (Chester Storyhouse); Debris (Liverpool Playhouse Studio); Return of the Soldier (Hope Mill Theatre/New Wolsey Theatre).
Reuben Speed (Costume Designer)
Reuben Speed is an Off West End Award-winning costume designer. His credits include Annie (Zabeel Theatre, Dubai), La Bohème (Regent’s Opera, UK and French tour), Speakeasy with Karen Hauer and Gorka Márquez (Adelphi Theatre and UK tour), I’m Gonna Marry You Tobey Maguire (Southwark Playhouse), and Dr Faustus (Southwark Playhouse – Off West End Award for Best Costume Design).
https://kingsheadtheatre.com/whats-on/derriere-on-a-g-string-md7x