Pop Goes The Dollar – Hope Theatre, Islington (Camden Fringe)

Writer & Director: Esalan Gates

Reviewer: Christine Stanton

“Excellently Executed”

4.5 / 5

The 2008 financial crash sent shockwaves around the world – housing markets collapsed and caused a global economic recession. Behind the scenes were desperate individuals doing their best to stop the economy from falling apart.

Focusing on various individuals involved in trying to salvage the economy, writer/director Esalan Gates’ fantastically gripping storyline is filled with palpable panic. As revelations begin emerging about the various companies such as Bear Stearns and Lehman Brothers’, the characters react with a realistic intensity, scrabbling to come up with plans, working through the night and doing their best to dig themselves out of an ever sinking hole. Finance and the economy aren’t the most interesting sectors to build an exciting storyline on, but Gates does it with ease, and even though at points some of the language and terms are a little complex if you’re not financially literate (such as myself!), it still ensures that everyone remains absolutely hooked by the spiralling storyline and fast-paced action.

The cast – Ayan Philip, Harriet Cantello and Xavier Atkins, are all wonderfully talented. The energy from the three of them remains high throughout, and they ensure their portrayals of each character, whether it’s the President of the federal reserve, the treasury secretary or a stressed employee, are distinctive and clear, ensuring the rapid transformations are never confusing. Philip’s confident calibre ensures the tension remains high throughout and Cantello’s emotive, measured concern keeps the threat of collapse strong. Atkins’ does serious well, but his highlight is switching between Fox News and BBC, which is expertly done, hilariously flicking between right wing Texan insights to composed British reporting – incredibly good!

One of the most appreciated things about the show is the clear level of attention that has gone into production. From small things like having the microphones match the colours of their respective political parties, to the seamless rehearsed movement that ensures easy transitions into new scenes (such as the dropping of a microphone, or the collection of a coffee cup). These small well-thought out touches ensure that the action never falters, and the pace remains punchy throughout. Emily King and Sarah Randall’s prop and set design helps the smooth movement, with the whiteboard wall reveal a brilliant visual delight midway through the show.

This is the epitome of exciting fringe theatre – an interesting storyline, stellar cast and an intricately executed production.

Runs until 24th August 2025