Zanzibar
- Episode aired Jan 2, 2018
- TV-MA
- 29m
IMDb RATING
8.1/10
2.2K
YOUR RATING
Strangely-farcical goings-on are in store for a group of unwitting guests, who have all booked adjoining rooms on the ninth floor of the Zanzibar hotel in London.Strangely-farcical goings-on are in store for a group of unwitting guests, who have all booked adjoining rooms on the ninth floor of the Zanzibar hotel in London.Strangely-farcical goings-on are in store for a group of unwitting guests, who have all booked adjoining rooms on the ninth floor of the Zanzibar hotel in London.
- Director
- Writers
- Steve Pemberton(uncredited)
- Reece Shearsmith(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaBased upon Shakespeare's A Comedy of Errors, with more or less direct references to Hamlet, A Midsummer Night's Dream, and others.
- ConnectionsFeatured in Diminishing Returns: Hamlet (2020)
Featured review
A Shakesperian inspired minimalist masterpiece
The Hotel Zanzibar welcomes the sexually perverted Prince Rico (Rory Kinnear) as its guest; along with his minder Henry (Reece Shearsmith) who has murderous treachery on his mind. Henry plans to assassinate his sleazy employer; acquiring the assistance of the prostitute Tracey (Tanya Franks) who Rico asked the zealous bellboy Fred (Jaygann Ayeh))to hire on his behalf. Meanwhile, another guest Gus (Rory Kinnear again)who happens to be the spitting image of the visiting royalty, has brought his girlfriend Amber (Hattie Morahan) to the hotel as well. Throw in the suicidal Mr. Green (Bill Paterson), dotty old Alice (Marcia Warren), and her doting, limp-wristed son Robert (Steve Pemberton), and the stage is set for an evening of farcical proportions.
The long-awaited return of messer's Shearsmith and Pemberton's comically dark anthology series, and it does so with considerable panache with; Zanzibar which marks yet another departure from the norm. Evidently inspired by the comedic works of William Shakespeare, most notably taking its cues from; Hamlet, Twelfth Night, and A Midsummer's Night's Dream with its themes of treachery, child separation, and romantic manipulation, it combines these elements to superb effect. With each of the players reciting the majority of their dialogue in iambic pentameter, whether it be to each other or in soliloquy as they break the fourth wall; it works so much better than one might expect. Each sentence just crackles with energy and is enriched by the emotive recitations from the wonderful cast, not once feeling aberrant or stilted. It flows like a fine wine pouring forth from a bottle of Chateau Lafite.
Shot entirely in the corridor of the ninth floor of the plush hotel, director David Kerr who incidentally helmed Russell T. Davies's BBC adaptation of; A Midsummer's Night Dream utilizes the minimalist backdrop from Shearsmith and Pemberton's ingenious script with supreme zest and efficiency. There's very much the hustle and bustle that is synonymous with the elements of farce; with an array of offbeat characters being expediently introduced, and relaying plot details directly or indirectly to the audience at home before they leave and the proceeding one enters. There's the swapping of rooms, and mistaken identities; double meanings, and cross purposes abound and it's all pulled off beautifully, with Shearmith and Pemberton putting a contemporary spin on the old formula.
It's also helped by the fact that they have, as they invariably do, acquired a top-grade ensemble guest cast which includes the ever-splendid Rory Kinnear who virtually excels himself in bringing two of the protagonists to life, who although physically identical are contrasting in nature. Jaygann Ayehh, a young actor who I have up on to now been unaware of is perfectly upbeat as the conscientious bellboy Fred, with Helen Monks along for the ride as his girlfriend and hotel maid. Colette. Hattie Morahan is also on, fine irritable form as Gus's disgruntled girlfriend Amber, while old-pro Bill Paterson is at his flawless supreme as the dour, and regretful Mr. Green. Marcia Warren adds some eccentric, oblivious warmth as the infectiously doddery Alice, with Tanya Franks and Kevin Eldon rounding up the non-regulars as jaded "working girl" Tracey, and pretentious stage hypnotist Vince. Of course, the series dual forerunners are again at their reliable, level best with Reece Shearsmith as Prince Rico's traitorous minder whose ambition's far outreach his talent; affecting a Weasley cockney accent that punctuates his villainous nature explicitly. As Alice's devoted son Robert, Steve Pemberton once again delivers the goods as the perennial carer to his winsome mother. The essence of their relationship acts as something of a brief, charming diversion on proceedings although Alice's absent-minded wanderings do diverge the comedy in a decidedly perverse direction, while Robert's unforeseen encounter with an amorous fellow guest offers a less unpleasant respite from what's gone before.
Arguably showcasing the comedy duo's combined thespian and screenwriting talents at its very best; and a story that would work well as a companion piece to The Understudy from Series 1; Zanzibar doesn't showcase them at their most trademark macabre and is relatively mild compared to such episodes as; Sardines, Tom and Gerri or; The Riddle of the Sphinx while any genuine shock twist never really transpires, it still makes for a refreshingly innovative and rewarding half-hour comedy-drama.
The long-awaited return of messer's Shearsmith and Pemberton's comically dark anthology series, and it does so with considerable panache with; Zanzibar which marks yet another departure from the norm. Evidently inspired by the comedic works of William Shakespeare, most notably taking its cues from; Hamlet, Twelfth Night, and A Midsummer's Night's Dream with its themes of treachery, child separation, and romantic manipulation, it combines these elements to superb effect. With each of the players reciting the majority of their dialogue in iambic pentameter, whether it be to each other or in soliloquy as they break the fourth wall; it works so much better than one might expect. Each sentence just crackles with energy and is enriched by the emotive recitations from the wonderful cast, not once feeling aberrant or stilted. It flows like a fine wine pouring forth from a bottle of Chateau Lafite.
Shot entirely in the corridor of the ninth floor of the plush hotel, director David Kerr who incidentally helmed Russell T. Davies's BBC adaptation of; A Midsummer's Night Dream utilizes the minimalist backdrop from Shearsmith and Pemberton's ingenious script with supreme zest and efficiency. There's very much the hustle and bustle that is synonymous with the elements of farce; with an array of offbeat characters being expediently introduced, and relaying plot details directly or indirectly to the audience at home before they leave and the proceeding one enters. There's the swapping of rooms, and mistaken identities; double meanings, and cross purposes abound and it's all pulled off beautifully, with Shearmith and Pemberton putting a contemporary spin on the old formula.
It's also helped by the fact that they have, as they invariably do, acquired a top-grade ensemble guest cast which includes the ever-splendid Rory Kinnear who virtually excels himself in bringing two of the protagonists to life, who although physically identical are contrasting in nature. Jaygann Ayehh, a young actor who I have up on to now been unaware of is perfectly upbeat as the conscientious bellboy Fred, with Helen Monks along for the ride as his girlfriend and hotel maid. Colette. Hattie Morahan is also on, fine irritable form as Gus's disgruntled girlfriend Amber, while old-pro Bill Paterson is at his flawless supreme as the dour, and regretful Mr. Green. Marcia Warren adds some eccentric, oblivious warmth as the infectiously doddery Alice, with Tanya Franks and Kevin Eldon rounding up the non-regulars as jaded "working girl" Tracey, and pretentious stage hypnotist Vince. Of course, the series dual forerunners are again at their reliable, level best with Reece Shearsmith as Prince Rico's traitorous minder whose ambition's far outreach his talent; affecting a Weasley cockney accent that punctuates his villainous nature explicitly. As Alice's devoted son Robert, Steve Pemberton once again delivers the goods as the perennial carer to his winsome mother. The essence of their relationship acts as something of a brief, charming diversion on proceedings although Alice's absent-minded wanderings do diverge the comedy in a decidedly perverse direction, while Robert's unforeseen encounter with an amorous fellow guest offers a less unpleasant respite from what's gone before.
Arguably showcasing the comedy duo's combined thespian and screenwriting talents at its very best; and a story that would work well as a companion piece to The Understudy from Series 1; Zanzibar doesn't showcase them at their most trademark macabre and is relatively mild compared to such episodes as; Sardines, Tom and Gerri or; The Riddle of the Sphinx while any genuine shock twist never really transpires, it still makes for a refreshingly innovative and rewarding half-hour comedy-drama.
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- The-Last-Prydonian
- Jan 4, 2018
Details
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- Country of origin
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- Filming locations
- Langham Hotel, Portland Place, London, England, UK(Stand-in for the Zanzibar Hotel - externals)
- Production companies
- See more company credits at IMDbPro
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