Category Archives: Uncategorised

Uncategorised

“Interview” at the Riverside Studios

Teunkie Van Der Sluijs’ idea of adapting Theo van Gogh’s 2003 film for the stage isn’t a bad one. Taking us behind the scenes of a celebrity interview has the scope for a tight head-to-head piece. Regrettably, the potential isn’t realised here. Updating the scenario to include the internet is poorly handled – it isn’t clear when the play is actually set – and the show ends up a long 90 minutes that tells us little.

The tension between serious journalist Pierre and influencer-turned-actor Katya just isn’t as strong or as interesting as it needs to be. The performers, Robert Sean Leonard and Paten Hughes, work hard. While Pierre seems ridiculously naïve, he has a traumatic back story that Leonard does well with. Poor Hughes has a tougher job, as her character’s intelligence and duplicity are supposed to, somehow, surprise us. But apart from this, there really isn’t enough to separate these two self-obsessed compulsive liars to create any sense of conflict.

Van Der Sluijs’ direction gives too much time to what little action there is and the players are somewhat swamped by the lavish Brooklyn apartment set. But there are no complaints about the production, which looks and sounds good, with an atmospheric score from Ata Güner. The video work, including live recording, is also good and incorporated very well. But – and it’s nobody’s fault here – there’s just too much of this sort of thing around right now.

Problems continue with the script’s poor humour and the odd chemistry between the characters. Some of this might interest – there are some fine #MeToo moments – but the observations and the jokes, like the opinions and a lot of the plot, are exactly what we’d expect and they feel dated. The whole idea of Katya turning the tables – and a poor final twist – are predictable. Some of this is deliberate, playing on expectations, but does an audience in 2025 really think that a social media star is stupid? Or that a journalist has integrity?

Interview wants to say lot to say about truth – online, in the news, surrounding celebrity – and how this triad relates. You might side with Pierre or see Katya’s POV. Maybe who you prefer depends on who you deem to be less irrelevant. But I’m afraid you won’t hear anything that you haven’t heard before and there’s little challenge or excitement. Maybe that’s a reflection on our times. But all we have here is battle of wits between two narcissists, neither of whom are as clever as they think they are.

Until 27 September 2025

www.interviewplayonstage.com

Photos by Helen Murray

Uncategorised

“Juniper Blood” at the Donmar Warehouse

Mike Bartlett is in a very serious mood with his latest play. Using close observations and cold wit to look at the effects of climate change on one family ensures the work, skilfully directed by James Macdonald, wins respect. But it is familiar ground, and a harsh edge makes it hard work.

‘Climate grief’ is the issue, although I’ll admit the term is a struggle. The idea is that things are so bad that we’re all in mourning for the planet. Hope is the keyword – not just a lack of it but whether it is even possible anymore. And yes, that is as grim as it sounds, even if Bartlett adds a few good gags along the way.

Whether or not to bring a child into the world was a concern for Bartlett way back in Earthquakes in London. And it’s not as if things have got better. But too much of the argument is the same. It’s impressively intense and undoubtedly important but ultimately repetitious. We start on a family farm, a kind of spin on The Good Life, with fascinating research about agriculture thrown in. But as any kind of compromise is rejected, environmentalism becomes radical and intersects with mental health.

The generational conflict in the play is solid, although Bartlett does better with the older figures. And privilege is something explored well enough. Although it’s hard to like anyone on stage – and credulity is pushed too far – the characters are all entertaining and the kind of roles actors revel in.

Although arguing about who is the key character would be part of the fun, I’m going for Lip, ironically named for his taciturnity. Sam Troughton is fantastic in the part, bringing essential underlying charisma. Lip isn’t an idiot: worrying about an existential crisis is sensible! But his partner, another strong role brilliantly performed by Hattie Morahan, is torn when she becomes pregnant. Other characters, a younger couple and a neighbour, are all filled out, with credit to Terique Jarrett, Nadia Parkes and Jonathan Slinger. The personal stories and perspectives interest, amuse and irritate in equal measure.

Good intentions run through the play and considerably help to make some silly bits credible. Opposing views allow scope in argument although, as with some of the characters, a lot doesn’t quite convince. For all the skill here, the result is strangely formal, tired and a little lost. Given the state and scale of the problems highlighted, maybe that’s understandable.

Until 4 October 2025

www.donmarwarehouse.com

Photos by Marc Brenner

Uncategorised

“Goodnight, Oscar” at the Barbican Theatre

There’s a danger of damning Doug Wright’s Broadway hit with faint praise. The writing is sound, the direction from Lisa Peterson solid. There are plenty of interesting themes surrounding the story of a virtuoso pianist suffering from poor mental health that make the show an excellent vehicle for its star, Sean Hayes, who is aided by a strong supporting cast. It looks good, too, with the 1950s setting made stylish in Rachel Hauck’s set and Emilio Sosa’s costumes. There’s next to nothing to complain about.

Oscar Levant, billed as one of the 20th century’s greatest wits, followed his successful musical career as a TV personality who was infamous for his openness about his health. The play pairs him with Jack Paar, said to have invented late-night television with Tonight, and imagines one episode with Levant sneaking out of a mental hospital to appear on the show. It’s a good story that Wright gets a lot out of, and Peterson paces the script superbly.

The blend of comedy and tragedy is handled well. Levant is funny, but his condition is a concern. Blessed (or should that be cursed?) with prodigious self-awareness, he needs to perform. Fascinated TV executives and viewers both condemn and exploit him. 

The role’s attraction for Hayes is clear, and he is, indeed, a revelation. That’s not so hard, since most Londoners will only know him as Jack from early Noughties sitcom Will & Grace. But he gets a standing ovation presenting a very different and complex man. Strong support from Rosalie Craig as his wife helps, despite her role, like too many others, being underwritten. Craig is excellent at showing a cool compassion that carries the action. Yet Hayes can’t help but steal the show. Yes, he is good with the comedy, but he is moving as well, managing to make us feel for Levant without patronising him. The piano playing is especially impressive and a great theatrical moment. Not only does Hayes give a great rendition of Rhapsody in Blue, but he acts while he is doing it.

Given Levant’s tortured relationship with Gershwin, who appears as an hallucination (performed by David Burnett), the influence of Peter Schaffer’s masterpiece is clear. But this is Amadeus with addiction issues, an addition that is interesting and convincing.

Another side of the story, Levant’s involvement with TV, might present more of a struggle for a home crowd. The late-night chat show isn’t as much of an institution here. While Ben Rappaport gives a layered performance as Paar, the excellent Richard Katz doesn’t have enough to do as a TV executive and Eric Sirakian’s role as a show runner is a weak comic foil. But even here, Peterson manages to convey the bustle of live TV, while questions around the nature of celebrity are clear and thought-provoking. If the play isn’t particularly adventurous, it is admirably thorough and conscientious. There really is a lot to praise.

Until 21 September 2025

www.goodnightoscar.com

Photos by Johan Persson

Uncategorised

“Titanique” at the Criterion Theatre

Tye Blue, Marla Mindelle and Constantine Rousouli’s hit show has a new cast. With Olivier Awards on board and booking until January, any scepticism about a show that sends up Celine Dion and the movie Titanic should be swiftly sunk. And, anyway, if you scoff at silliness, this one isn’t really for you – Titanique is one of the most absurd things you can see, and very funny indeed.

Presenting two stories of what happened on board the doomed ocean liner, including reenacting the romance between Jack and Rose from the film, all with songs by Dion is, frankly, a lot. There’s so much scope for jokes that it all feels, er, a little choppy. Blue’s direction enhances the energy and more gags are added that are sometimes tasteless and often rude, encompassing news events, pop culture and, for this UK version of the Broadway show, quite a lot of EastEnders. While some jokes are so old they hum, the sense of surprise is great, with moments where you check yourself at how mad it all is. 

This much foolishness is actually hard work. The musical adaptation of Dion’s hits, by Nicholas James Connell, is smart. And the strong cast makes light work of a demanding routine. While Luke Bayer and Hiba Elchikhe, as Jack and Rose, feature heavily, all get plenty of moments to (over)act including Tosh Wanogho-Maud as a seaman (yes) and Tina Turner-as-an-iceberg (there’s hyphenation I never thought I’d need). Surely, it’s hard to sound this good with your tongue so firmly in your cheek? Let alone all the eyerolls and Ellenore Scott’s choreography. 

The show is buoyed by the performance of Astrid Harris as Dion herself. An exaggeration as much as an impression, she gets laughs at every moment. And the show is neatly coy about Dion’s appeal – she’s made fun of, sometimes a little cruelly. But the acerbic propels the show. And such humour is leaned into by Carl Mullaney, who plays Rose’s mother with a fantastic rant and highly effective slips into a British accent. A lot of Titanique is reminiscent of a (very good) drag act – there are enough references to RuPaul, after all – giving it a neat niche that should keep it afloat for a long time.

Until January 2026

www.london.titaniquemusical.com

Photo by Mark Senior

Uncategorised

“Brigadoon” at Regent’s Park Open Air Theatre

“Brigadoon” at Regent’s Park Open Air Theatre

Lerner and Loewe’s show is the kind that people who don’t care for musicals dislike. From the Golden Age of the genre, even with adaptation by playwright Rona Munro, it feels old-fashioned. There are people bursting into song and dance, of course, and all in a mystical village that only appears every century. And there’s little plot to the tear-jerking romance. But director Drew McOnie leans into the hopeless romanticism with abandon. This rare revival is a quality one.

Even if you can let the twee setting – that Munro tries to make interesting – go, the characters are a struggle. It’s hard to claim anyone in the story has depth. But the cast sound good (if a little too keen to bring out accents) and give it their all. The humour is so dated it is dire. The role of Meg shows the problem, despite a spirited performance from Nic Myers, with her flirtation coming across as unhinged.

You’d have a hard heart, though, not to be swayed by the pairs of lovers on offer. Louis Gaunt portrays GI Tommy with suitable machismo. Opposite him, Georgina Onuorah makes Flora (a role she will alternate with Danielle Fiamanya during the run) falling in love at first sight convincing. The chemistry is great. As the younger couple, Charlie and Jean, Gilli Jones and Jasmine Jules Andrews hold their own and it’s all very sweet. Both are exciting performers, the former making a tremendous professional debut.

Cavan Clarke at GI Jeff in Brigadoon
Cavan Clarke

To be fair to Lerner’s book, and Munro’s updating, there’s a lot of love lost in the show, including a tragic ending. It’s a shame this disappointment doesn’t make it more moving. Still, there’s a stronger than most role for Cavan Clarke, as the more cynical GI Jeff. And the lovelorn Harry means that Danny Nattrass can shine. Both could be viewed as villains – it is creditable that this doesn’t happen.

The songs are lovely, if also old-fashioned. The lyrics take a back seat. Musical director Laura Bangay ensures a big sound (well done on the bagpipes and drums). As Nattrass illustrates, the strongest part of the production is the choreography. Given the show’s original date, the amount of dancing isn’t a surprise and, of course, this is McOnie’s forte. 

Chrissie Brooke in Brigadoon at Regent's Park Open Air Theatre
Chrissie Brooke

On a surprisingly constrained stage (Basia Bińkowska’s set has ramps, used to great effect) wonders are worked. And lyrical gestures look stylish, aided by Sami Fendall’s costumes. But scenes of violence are even more impressive. Harry breaking up a wedding, the chase scene and a Ghillie Callum (I looked that one up) are all superb. And time is taken over subsequent grief – praise for Chrissy Brooke here.

There are breathtaking moments, although probably not enough to make any converts, but Brigadoon is certainly worth a visit.

Until 20 September 2025

www.openairtheatre.com

Photos by Mark Senior

Uncategorised

“A Man For All Seasons” at the Harold Pinter Theatre

Casting Martin Shaw as Thomas More for this revival of Robert Bolt’s play is a sound move. As the lawyer-turned-politician, struggling against Henry VIII’s Reformation, the character possesses personal conviction and precise argument. Shaw can deliver both integrity and clarity very well, aided by great stage presence. And he brings a sense of the outsider, with a wry eye and cool common sense, that is perfect for the role.

Famous faces from the Tudor court are present, with a large, competent, supporting cast. I liked Orlando James’ brief appearance as Henry VIII; a figure to fear making fun of. And Edward Bennett’s Thomas Cromwell has a mix of cynical humour and, again, fear, that adds to the role. 

With Jonathan Church’s smooth direction, and a stylish set from Simon Higlett, the production is a quality affair. But Bolt’s 1960 script hasn’t aged well, and cracks show. 

Most of More’s family fail to rise above being foils for the great man. It’s understandable, as there’s a lot of exposition and explanation to get through. More’s recalcitrance is a puzzle for most of us; what does he achieve from his silence? Wife, daughter and son-in-law are only there to put forward different arguments. At least they convince with regards to the affection among the family.

The role of the ‘Common Man’, arguably innovative in Bolt’s time, proves a further problem. While Gary Wilmot has a good go at the role, injecting plenty of energy, the jokes are poor and the insights weak. And is the play’s baddie, the dastardly Richard Rich, who Calum Finlay does well with, too bland?

Rewriting history isn’t new. More participated himself, with regards to Richard III, as Josephine Tey’s detective in The Daughter of Time points out. It’s often fun and right now its trendy. But this effort to look at the past feels old-fashioned itself. Bolt’s efforts are sensible and considered but also dry. And he comes too close to canonising More a second time. We may admire the saintly sangfroid, but it doesn’t add tension. The history lacks bite – it’s too calm. Which you might respect but ends up surprisingly lacking in drama.

Until 6 September 2025

https://www.haroldpintertheatre.co.uk

Photo by Simon Annand

Uncategorised

“Lost Watches” at the Park Theatre

There are plenty of ideas and nice touches of absurdity in Lorenzo Allchurch’s new play. Overall, both cast and crew have bitten off more than they can chew – there are too many scenes that need to be expanded or abandoned, too many themes thrown in and not elaborated. But if the play seems a little lost at times, it is one that wins for its efforts and a production I felt warm towards.

Our hero, Allen, is in mourning for his mother. Allchurch, who takes the part, doesn’t ground his play enough in this grief nor, despite his appealing stage presence, establish the central character sufficiently. Allen’s family relationships are complicated (and dramatically interesting) but we only get to see his brother and father briefly, and that they are both played by Gabriella Moran does not help. It’s all directed just a little too fast by Alex Helfrecht.

The play’s crazy twist is good, though. Allen’s mother was a sculptor, her favourite piece a portrait of Beat icon William S Burroughs. And the artwork, voiced by Jason Isaacs, starts to talk! Allchurch pulls off the tricky interaction with a recording very well. Borough’s sense of mischief and anarchy is convincing, though I wonder if it could have been taken further, made darker? Exactly how much of his sanity Allen has lost is left nicely open.

Lost-Watches-at-the-Park-Theatre
Lorenzo Allchurch and Leah Aspden

Moran, who is a busy woman, also appears as the mother, a stronger role with a nice line in enigmatic and glitter in her pockets that proves effective. And there’s a neat comic part for Leah Aspden as a policewoman who meets, but doesn’t quite help, our hero. It’s too easy to speculate that the show might have focused on this duo more – suggesting Alan’s past and, perhaps, his future.

Not everything needs to be tied down, but it is annoying that so little is made of the watch that gives the play its title. It’s another loose end that leaves a sense of having missed something. Lost Watches aims at balancing a sense of magic with the absurd. It’s a task that’s harder than it sounds and, regrettably, not accomplished despite moments of potential along the way.

Until 23 August 2025

www.parktheatre.co.uk

Photos by Mark Senior

Uncategorised

“Inter Alia” at the National Theatre

Following the huge success of the play Prima Facie, the pressure must have been on for writer Suzie Miller and director Justin Martin. So, what does the audience want next? More of the same is tempting – a contemporary, character-driven drama, with a star lead, and lots of after-show conversation. But something different, too, right? What might be called development? Much to Inter Alia’s credit, and new leading lady Rosamund Pike, both demands are delivered.

Inter Alia is – another – legal drama. And a fine one. This time our heroine, Jessica Parks, is a judge. She’s good at her job, too, compassionate and skilled at listening. She is aware of her privilege, appalled by rape myths, in charge and inspirational. The commitment Pike brings to the role is tremendous. Parks is a kind of rock star at work, microphone in hand, music backing her up. And there’s just as much energy at home and at play. She bounds around the stage and over the furniture. 

Inter-Alia-credit-Manuel-Harlan

If what happens next is a little too obvious, the character is strong enough to forgive it. Because the other thing Parks is very much amongst is being a wife and a mother. Miller has a keen, often amusing, take on the problems of juggling a career and parenting. Parks is, by default, the “primary carer” (groans of recognition from the audience). Despite her fears and funny blunders, she’s a good mum, too. Flashback scenes to her boy’s early years are highlights.

Unlike Prima Facie, this isn’t a solo show. We get to meet father and son, capably played by Jamie Glover and Jasper Talbot, respectively, and well-written, although the point is very much how Parks has to juggle these men’s egos. When it comes to multi-tasking, Pyke excels. Parks runs an internal dialogue and addresses the audience at the same time as playing against other characters. The delivery must be exhausting – it’s intense enough for a viewer – but the rewards are huge as we observe her getting close to the character and the complexity of her problems.

With Martin’s strong direction, the action and Miller’s insights are clear. The dilemma worked towards is a painful one. If exploration around what happens feels rushed, let’s call it a mark of how involved we’ve become with all the characters. To watch Park’s perfect – if frantic – life collapse isn’t easy. Any hope Miller allows is, I fear, too close to wish fulfilment. But that’s something to discuss after the show. In all, it’s an elaborate, nuanced and powerful play. 

Until 13 September 2025

www.nationaltheatre.org.uk

Photos by Manuel Harlan

Uncategorised

“The Daughter of Time” at the Charing Cross Theatre

Imprisoned in a hospital bed, the detective in Josephine Tey’s 1951 novel decides to investigate the ultimate cold case – Richard III’s murder of his nephews in 1483. The history is fascinating. Tay, and this stage version adapted by M Kilburg Reedy, present the case in detail with a sense of excitement. But while the book was groundbreaking, its stage version is an unhappy affair. 

Thanks in part to Tay’s success, the idea of Shakespeare as a Tudor apologist is well established. We know Will did Rich dirty. So, it’s not a bad idea to add something new and Kilburg Reedy’s idea seems, roughly, to be a rom-com. It’s not a terrible notion, as it allows excuses for old-fashioned attitudes, leaning into a sweet spot of nostalgia. But for it to work, the love story needs to convince and the comedy make you laugh. The script and Jenny Eastop’s direction deliver neither.

With our hero, Inspector Grant, in bed for most of the show there’s an understandable concern about how to deal with such a static scenario – but it becomes an obsession for Eastop that has dire consequences. While Bob Sterrett’s set helps (and the idea of seeing some Shakespeare is good), the show has nurses and visitors coming and going for little reason and nobody arrives or leaves quickly enough. It all becomes tiresome. 

Daughter-of-Time-at-Charing-Cross-Harrison-Sharpe
Harrison Sharpe

A lot of effort is taken to plump out secondary characters but the results, and some of the performances, are poor. The three nurses are a case in point, being sketchy roles that only Janna Fox comes close to making work. The researcher Grant enlists to help him is lamentable, and the efforts to inject humour from notes on scraps of paper is poor from the start. As Harrison Sharpe, who takes the role, repeats the gag, I just felt sorry for him. There’s another poor effort that Noah Huntley has to deal with as the third in a faux love triangle (it’s a plot to make Grant announce his feelings), burdened by the unnecessary and heavy-handed suggestion that his character is gay.

A lot of this might be excused if the love story worked. While the casting of Rob Pomfret in the lead is sound, and his performance suggesting Grant’s depression has subtlety, Grant’s affection for actress Marta does not convince. Taking this role, Rachel Pickup has glamour – and her character’s hopes for respect as well as romance are a nice touch – but the chemistry and tension are weak. With the adaptation adding so little, you might as well stay home and read the book.

Until 13 September 2025

www.charingcrosstheatre.co.uk

Photo by Manuel Harlan

Uncategorised

“Sing Street” at the Lyric Hammersmith Theatre

Given the pedigree behind this new musical, the result is, regrettably, disappointing. The idea isn’t a bad one. As with the smash hit show Once, it is based on a film by John Carney and the book is by Enda Walsh. Schoolboy Conor forming a band to impress a girl provides a sweet enough coming-of-age story with plenty of 1980s pop music that introduces new songs and has nostalgic appeal. But the show is slow, and director Rebecca Taichman does the energy on stage a disservice.

The new songs, by Carney with Gary Clark, are good and the format brings some coherence. Indeed, favourable comparisons can be made with ones from the period, which are interspersed in a tiresome fashion that slows down the action. Maybe some of the best sound a little like those from Once with the same sincere lyrics and homespun wisdom, but that’s OK. The bold move of making the schoolboy band’s first effort deliberately poor – and plenty of appealing humour (the influence of The Cure is very funny) – is all winning.

The romance between the lead singer Conor and his muse, Raphina, is good. Performed by Sheridan Townsley and Grace Collender with a sense of excitement, they both bring charm and energy using Bob Crowley’s minimal set well. Townsley and Collender sound like stars already and it’s impossible not to wish them the best. So, why my reservations about the show as a whole?

Sing-Street-Lyric-Hammersmith-Adam-Hunter-credit-Manuel-Harlan
Adam Hunter

There are big problems for the rest of the cast. The other schoolboys don’t stand out – a pity as that clearly wasn’t the intention and a shame as there’s plenty of talent (note Jack James Ryan’s bully Barry). Even worse, Conor’s parents, who are divorcing, his agoraphobic brother and under-pressure sister are too easy to forget and hard to care about. And it isn’t for lack of time spent on the additional storylines, which are drawn out. Brother Brendan’s song is a tiresome case in point, despite a powerful effort from Adam Hunter in delivering it. 

The time spent away from the kids’ story gets messy, culminating in another brother, Brother Baxter, Conor’s school teacher at his religious school. Lloyd Hutchinson, who takes the part, must shoulder any resentment towards the Catholic Church solo. And, not surprisingly, it’s too much for one man. The effort to make his character complicated is so tokenistic that it is close to insulting.

Staying close to the original film is important in a project like this – it’s what a lot of the audience wants. And plenty of the movie’s charm is preserved through the sounds and the central characters. But the result here is bloated and delivers far less than the considerable effort on offer might have produced.

Until 23 August 2025

www.lyric.co.uk

Photos by Manuel Harlan