Chop-chop! – Barons Court Theatre, London

Chop-chop! is an energetic solo show with a vibrant concept and moments of charm, but one that struggles to sustain its momentum across a full-length format.

Chop-chop!

Andrea Holland’s Chop-chop! is a bold, bilingual solo performance packed with energy, physical comedy and flair. Performed largely in Spanglish (knowing a bit of Spanish helps but is not essential), the show sets up an internal tug of war between two clashing halves of one identity: a rule-following, schedule-bound English voice and her fun-loving, chaos-embracing Spanish counterpart. Holland plays both personas with physical verve and quick, often charming transitions.

The premise is clear and appealing. Anyone who’s grown up between two cultures, or who simply contains multitudes, will recognise the internal monologue that swings between indulgence and discipline. There’s humour in the clash, and occasional poignancy too, particularly in the later scenes when hints of backstory start to emerge. Holland’s relationship to food, family, and expectations offers moments of real insight, and when the audience are brought into the experience more fully later in the show, it helps break through some of the earlier distance.

But while the show bursts with personality, its 90-minute runtime feels overextended for a premise this simple. The tension (a looming email that one side wants to write and the other avoids) never really evolves until the closing scenes, and the piece feels dramatically slight for its length. The staging too is spare – another factor which is equal parts charming and limiting. Still, for those open to its brand of absurd humour and bilingual whimsy, this is an energetic experiment that charms more than it frustrates.

A Playful Premise that Could Benefit from Tighter Storytelling

There’s no doubt that this play has a strong central idea. The conflict between Holland’s two personas – one fuelled by fiesta, the other by deadlines – makes for a knowingly exaggerated portrait of internal division. But the characters are painted in broad strokes for much of the show. The Spanish figure is mostly all siestas and resistance; the English one is all productivity and tension. It’s not until the final quarter that Holland begins to blend these extremes into something more nuanced.

Until then, the show leans heavily on physical comedy and character shtick. Holland is agile and committed, but some of the humour takes time to land. In the absence of a fuller narrative arc, the structure feels repetitive, and the fairly spare performance space adds to a sense of constraint. There’s a spark of something deeper here, especially when the show begins to reflect on how identity is shaped by personal history, not just stereotype. But that spark feels underdeveloped.

Directed by Giovanna Koyama, Chop-chop! certainly has potential. The audience at Barons Court Theatre seemed responsive, particularly once we were included in the game. And even more so once food was on offer! With some trimming and further development of its emotional core, this could be a truly affecting show. As it stands, it’s an inventive and engaging hour and a half that gestures toward something richer.

Salterton Arts Review’s rating: 3/5

Chop-chop! on until 31 May 2025. More info and tickets here.