Retired teacher Matt (Frazer Hammill) and his partner Rose (Annie Kirkham) have borrowed his parents' caravan for a serene getaway along the Bridlington coast, expecting four days of peace and a break from their usual routine. However, their plans soon go awry with the arrival of nightmare neighbours Grant (Tom Gallagher) and Steph (Laura Jennifer Banks), a pair of raucous tribute band fanatics whose lack of consideration and boisterous romps leave Matt and Rose wondering if they’ve stumbled into a reality show gone wrong. Their beaten-up tent crashes into the scene, bringing a chaotic energy that would make even the most seasoned caravaner consider an early checkout.
The New Vic’s set design delivers a great sense of place, with artificial grass and camping chairs perched on an imagined cliffside that adds a realistic and immersive touch to the holiday atmosphere. But like the caravan lifestyle, the show often gets bogged down in setup with too many scene changes, musical interludes, and unnecessary blackouts, particularly in the first act. These interruptions disrupt the flow, akin to the endless quest for freshwater or a level pitch.
From squabbles over awning setup to complaints about caravan-site etiquette, Godber nails the quirks of camping culture with lots of winks and nods. For anyone who’s ever wrestled with an ill-placed tent peg or found themselves cornered by a “friendly” neighbour at the water tap, the humour will hit home. The dialogue offers an abundance of fun moments, with jokes that land like deck chairs at high tide and leave the audience in combined hysterics. The antics of Grant and Steph add some punch, and their presence gives Matt and Rose’s caravan the vibe of an unwanted layover. The cast successfully builds friction throughout, though this is at its best in the second act, where the tension between the couples escalates after they attend a karaoke night together. Sly digs over the quality of the entertainment lead to confrontations that reveal deeper frustrations, highlighting the contrasting dynamics of their personalities and culminating in a more engaging and layered conflict.
Yet for all the humour, Perfect Pitch is unfortunately stuck in one gear. Scenes roll by like repetitive campsite activities—entertaining enough but without any real progress or build. By the end, it feels like you’ve gone in a circle, waiting for the punchline to park in a space that never really opens. While Perfect Pitch hints at a clash between middle-class and working-class values, it falls short of exploring this dynamic in depth. The contrast between the opera-loving, wine-sipping Matt and Rose and the beer-chugging, carefree Grant and Steph provides ample opportunity for commentary, yet the play relies too heavily on caricatures, using class differences as a backdrop for easy laughs rather than a focal point. This reliance on sitcom-style gags results in a somewhat flat experience that, while funny, lacks the thematic depth and resonance needed to elevate the production.
Perfect Pitch delivers an enjoyable, if ultimately shallow take on a British holiday tradition. It’s an enjoyable watch for the laughs, but those hoping for more than light-hearted comedy will find themselves wanting more.
Perfect Pitch is at the New Vic until Saturday 2nd November.
0 Comments