REVIEW: The Pearly Queen Theatre Opens with Inaugural Production, The Mystery of Irma Vep 7 - 23 May 2026

“a satirical mystery that calls on tropes from classic Gothic horror films and Victorian melodramas“ ★★★ ½ 

There is a new pub theatre in East London! The Pearly Queen Theatre, a 50-seat black box theatre, has officially opened above The Bow Bells Pub on Bow Road, marking its arrival with an inaugural production of The Mystery of Irma Vep.

The Mystery of Irma Vep by Charles Ludlam first premiered off-off-Broadway in New York City in 1984. The titular reference to the 1915 French silent-film character, Irma Vep, is the first indication that the show is one of gothicism, camp, and - just maybe - vampires. Indeed, The Mystery of Irma Vep is a satirical mystery that calls on tropes from classic Gothic horror films and Victorian melodramas. Characters include immediately recognizable genre figures – a hunched groundskeeper, an uptight maid, a deceased wife whose portrait hangs above the mantle alongside a single rose and an ever-burning flame, and so on. 

The play begins with Lady Enid’s arrival to Mandacrest Manor, the gothic estate home to her newly-betrothed, Lord Edgar. Lady Enid’s arrival follows the mysterious death of Lord Edgar’s first wife, Irma Vep, three years prior. As the plot unfolds, the mysteries of Mandacrest Manor accumulate, surprise twists reveal themselves, and characters travel to Egypt and back in search of answers. 

The Mystery of Irma Vep is intended for two performers. In this case, all eight characters are performed by Curtis Burrows and Leyon Stolz-Hunter. Both Burrows and Stolz-Hunter give excellent performances, effectively transitioning between multiple characters, frequently within the same scene. Their commitment and delivery help sell a considerable amount of absurdist jokes that may have otherwise fallen flat from less confident performers. 

The play’s plot leaves much to be desired. Characters’ motivations are often unclear and the audience is arguably left with more questions than answers. There’s an overtly sexual throughline that remains confusing throughout. Certain reveals feel too unjustified and random for successful payoff. Other twists simply do not make sense. 

Luckily, The Mystery of Irma Vep does not aspire to be Chekhov. It is a show that can laugh both with and at itself, and is trying to make its audience laugh far more than it is trying to fundamentally change their worldview. Plot holes are easily overlooked as comprehension is largely irrelevant. In this particular production, Glenn T. Griffin’s direction is similarly most focused on mining Ludlam’s script for opportunities for visual gags and physical comedy, more so than clarifying for the sake of audience understanding. The 120-minute runtime feels modestly excessive, but the play remains entertaining throughout. The performance is as successful as the script allows.

Both the performance and the space contribute to audience enjoyment. During the show’s 20-min interval, audiences had the option of returning to The Bow Bells below, or enjoying a drink or snack at the theatre bar. Attendees could order food without leaving the theatre to then enjoy from their seats during the second act. All to say, The Pearly Queen Theatre is worth the trip. It is an intimate and welcoming space, and a wonderful addition to London’s pub-theatre scene. Fans of high-camp and murder mystery should be sure to catch The Mystery of Irma Vep before its closing on May 23rd for a guaranteed two-hours of absurdity and laughter. Audiences who prioritize plot and are committed to high art may consider catching the next one.

Cast: Curtis Burrows, Leyon Stolz-Hunter
Director: Glenn T. Griffin

Venue: The Bow Bells, 116 Bow Rd, London E3 3AA
Dates: 7–23 May
Times: 19:30 (plus select Sunday matinees at 14:30)

Ages: 16+
Running time: 2 hours (includes intermission)
Tickets: from £20 (concessions available)
Book: www.pearlyqueentheatre.co.uk

Instagram: @thepearlyqueentheatre