The result is a production that is consistently watchable and intermittently very funny, but which stops short of being fully satisfying.
There is always a particular expectation when a new show from Grimes and McKee arrives on the stage. Over the past two decades, the duo have cultivated a loyal audience through their brand of locally rooted comedy, blending sharp political observation with an accessible, often affectionate, sense of humour. I Was the Voice of Gerry Adams, now running at the Waterfront Studio arrives with pedigree and goodwill, but what it delivers is more uneven than their strongest work.
Set against the backdrop of the early 1990s and the broadcasting ban on the voices of Sinn Féin representatives, the play draws on a curious and very Northern Irish slice of history where actors were hired to dub the words of politicians deemed too controversial to be heard directly. It is fertile comic territory, and in the programme notes Conor Grimes makes clear the personal origins of the story, recalling his time “popping in and out of the BBC” as a young actor. That autobiographical impulse gives the piece an authenticity that often works in its favour.
Structurally, the show is built as a two-hander romp through memory, media and the peculiarities of local politics. Both Grimes and McKee perform a wide range of characters, sometimes inhabiting the same figures with different inflexions. At its best, this showcases their well-honed comic chemistry. Their timing remains instinctive, and there are passages of genuine laugh-out-loud humour, particularly when the script leans into the absurdities of the era.
However, the device of rapid character-switching is also where the production begins to falter. Without clear enough physical or tonal differentiation, some transitions blur together. Audience members who momentarily lose the thread may find themselves working harder than they should to track who is who. In a comedy that depends heavily on rhythm and clarity, that occasional confusion disrupts momentum.
The script itself is packed with recognisable Grimes and McKee hallmarks. There are nostalgic callbacks, knowing political winks and a fondness for heightened storytelling. Yet the narrative spine feels looser than in their most successful outings. Scenes sometimes drift rather than build, and while individual moments land, the overall arc lacks the cumulative punch one might expect given the subject matter.
Zoë Seaton’s direction keeps the staging clean and functional within the intimate Waterfront Studio space. The production values are solid without being showy. Isaac Gibson’s sound design and Ciarán Bagnall’s lighting support the action effectively, though neither element is asked to do particularly heavy lifting. Sarah Jane Johnston’s choreography is used sparingly but adds welcome texture where it appears.
What cannot be faulted is the audience response on the night. The crowd was warm and frequently vocal, and the show ultimately received a standing ovation. That said, the reaction was not entirely universal. From the press row, there was a more measured reception, reflecting the sense that while the piece entertains, it does not quite reach the bar set by the duo’s previous collaborations.
Part of the challenge may be expectation. Grimes and McKee have previously demonstrated an ability to balance broad comedy with sharp narrative drive. Here, the balance tips more heavily toward anecdotal humour without always delivering the same dramatic payoff. The result is a production that is consistently watchable and intermittently very funny, but which stops short of being fully satisfying.
There is still plenty for loyal fans to enjoy. The performances are committed, the local references land with knowing precision, and the central premise remains inherently appealing. But taken as a whole, I Was the Voice of Gerry Adams feels like a show that has not yet fully found its sharpest shape.
It entertains, certainly. Whether it lingers in the memory in the way of the duo’s best work is another question.
I Was The Voice of Gerry Adams runs at the Waterfront Studio until 14 March. Tickets are priced from £22.50 excl booking fee.
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