You’ve heard of Charlie’s Angels, but what about Agatha’s Angels?
Following a sold-out run at Camden Fringe, Organised: Crime arrived at The Lantern Theatre in Kemptown as part of Brighton Fringe, bringing with it a delicious blend of dark comedy, sharp character work, and chaotic energy. Created by Gut Rot Girls, this female-led production has been described as ‘Marie Kondo meets The Sopranos’, an accurate comparison for a show that combines meticulous organisation with murder, mayhem, and hilarity.
The story follows three young women working for Agatha’s Angels, an underground cleaning service that specialises in helping wealthy clients tidy away more than just household clutter. Their motto, “Angels should not be seen or heard,” loomed over the action throughout, as the trio attempted to navigate one of their most challenging clean-up jobs yet. What followed was an hour of arguments, revelations, physical comedy, and increasingly frantic attempts to maintain control as everything threatened to spiral out of hand.
At the heart of the production was the chemistry between its three performers. Each Angel is distinctly drawn, with contrasting personalities and priorities creating constant friction. The dynamic feels authentic and often hilariously recognisable, particularly as tensions rise and loyalties are tested. While the premise itself is absurd (and unlikely), the relationships between the characters keep the story grounded and engaging.
Despite the chaos and calamity, more serious themes are woven into the piece allowing us as the audience to connect with the characters’ struggles. They explore themes of womanhood, ambition, family expectations and the difficulties of reproduction. On a lighter note, one of the women portrayed the Gen Z ‘nepo baby’ stereotype perfectly, generating some of the show’s biggest laughs. #Kony2012 even came up in conversation.
Choreographed dance sequences inject bursts of energy into the narrative and help maintain the show’s rapid pace. Even seemingly random recurring motifs (golf balls being a particularly notable example) become part of the show’s offbeat charm, contributing to a world that feels simultaneously surreal and oddly believable.
Eve Callow-Salt, Jane Herbert, and Martha Powell-Dooley have created a dark comedy that knows exactly what it wants to be. The script was fast-paced, the performances were amazing, and the humour lands consistently. More importantly, the show never lost sight of the humanity beneath its criminal roots. For all the body disposal jokes and organisational puns, there is genuine heart at the centre of these characters and their relationship.
By Josie May
