
Azeem Nathoo, Jack Copland and Suchiththa Wickremesooriya in “Three Men on a Bike”, Photo by Raph Nogal
In a new adventure based on the writings of satirist Jerome K. Jerome, our jinxed yet plucky trio from Three Men in a Boat are back. Presented by Guild Festival Theatre, the cast and creative team from last summer recreate a familiar spectacle with Jay (Azeem Nathoo), George (Suchiththa Wickremesooriya) and Harris (Jack Copland) in Three Men on a Bike. Since they survived their disastrous escapade along the Thames; they are now headed to Germany for glorious scenery and tasty schnitzel, but find themselves ticketed for “mischief” by suspicious constables, facing treacherous uphill terrain and gun-wielding locals.
As with their ill-fated boating trip, they must negotiate a series of obstacles both tangible and theoretical before their journey even begins. There is a wife to placate; locations, modes of transport and, of course, supplies to consider. There is much argument, but all are in agreement on the essential nature of whiskey. Once again, Jay is our narrator and his commentary features some off-kilter English wit and absurd takes, conjuring a world where unpleasant circumstances can be “good for the liver.”
Sporting their colourful suits designed by Ina Kerklaan and busting out their cute barbershop ditties (arranged by J. Rigzin Tute), the intrepid vaudevillian trio are rather iconic. Both Mark Brownell’s adapted script and Sue Miner’s direction have ratcheted up the playfully self-aware theatrics, fully embracing the unique charms of the outdoor venue. I’m particularly fond of the giddy momentum of entrances and exits as the actors create a multitude of eccentric secondary characters. Their mimed cycling set to a jaunty tune is stylish, persuasive and pays off hilariously well with a cartoonish yet convincing collapse into exhaustion.
Oh, and Jay’s terrier Montmorency makes an appearance! Sadly, he doesn’t get to go on the adventure, but joins the audience as a fellow spectator to it. The plush toy doggy does figure into some of the action with a surprise cameo during one of the trio’s stressful encounters. Some of my favourite bits include: Nathoo’s heartfelt goodbye to Montmorency; Copland’s frustrating, portent-obsessed boatman, and Wickremesooriya’s reappearance as his very popular German opera singer from last summer.
They spend a lot of time blaming each other for their misfortunes, but their shared affection is steadfast. Quarrelsome banter is their deal and they’ve embraced it as they have each other. And they have certainly grown on me too. I still find some of the broad and episodic humour a little tiresome, but the overall staging is more dynamic this time around, the physical comedy especially. Nathoo, Copland and Wickremesooriya have delightful chemistry and their silly shenanigans are suitably diverting—solid family entertainment for a park outing.

