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“Boy Parts” at the Soho Theatre

Gillian Greer’s adaptation of Eliza Clark’s novel has a lot to offer – above all a fantastic solo performance from Aimée Kelly. Tension is crammed into the story of a disturbed art photographer, who may be or may not be a serial killer. Not a moment of its 80 minutes is dull. I’m just not sure Boy Parts as challenging as it should be.

Kelly makes our antiheroine Irina hold attention with an acerbic tongue and plenty of extreme views. There’s no doubt about her contempt for people, and her lust for the young men she shoots is uncomfortable to watch. Kelly handles the script’s dark humour with considerable control – and then the next moment gives you goosebumps.

Yet, do Irina’s mental health problems make the play too easy? We are never sure if the dark fantasies are really enacted. Or what role self-medication in the form of drink and alcohol plays. An unreliable narrator can be a great device but, in a one-person show, other perspectives are especially tricky. Maybe the ideas are disturbing enough. But is there the danger we dismiss Irina?

The twist of having a female photographer exploiting men is an interesting one, especially the question about the very possibility of her being a threat. The chills are here, the language visceral. But there’s a snag again. We might wonder how much the work is being shaped by a curator Irina wants to please – and, of course, this gallery owner is a man. And many ideas feel rushed. That Irene dismisses her personal security, her self-esteem, even being abused, all shock – how could they not? – but each needs expanding on.

The production itself is strong. Sara Joyce’s direction is firm, and the show looks great. Peter Butler’s set recalls an exhibition space and benefits the video work from Hayley Egan. The whole show is aided by Christopher Nairne’s cinematic lighting design. But, with all this, we’re moving into the territory of style over substance. Boy Parts is crammed and yet feels fleeting. The show has great moments but doesn’t add up to much.

Until 25 November 2023

www.sohotheatre.com

Photo by Joe Twigg

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“Sunset Boulevard” at the Savoy Theatre

Everything about Jamie Lloyd’s new production of Andrew Lloyd Webber’s 1993 musical is exciting. Everything. Lloyd is one of the smartest directors around: never scared of entertaining, thrilling and challenging an audience – and here, everything he has touched benefits.

First, the piece. Lloyd has tackled Lloyd Webber before, with Evita, and it is a thrill to find such a bold director finding a West End hit so credible. The score for the tragic romance between former silent film star Norma Desmond and impoverished writer Joe Gillis sounds big – powerful and sensuous – Alan Williams’ work as musical director is fantastic.

Lloyd takes the book and lyrics by Don Black and Christopher Hampton seriously, too: the presentation is clear and nuanced and you can’t fault delivery of a single line. Norma’s attempt to return to work and Gillis’ romance with another writer are both explored in depth. I only spotted one omission, a lighter number called ‘The Lady’s Paying’, and the absence is telling. Sunset Boulevard is a dark piece – it’s about a murder, after all. The camp appeal of the show is allowed but carefully controlled.

The staging is startling. Soutra Gilmour’s design has no props and no set. Instead, Lloyd sets up a dialogue with the medium of film and the resulting designs for lighting and video, from Jack Knowles, Nathan Amzi and Joe Ransom, are breathtaking. It’s too simple to say noirish, although the references are clear. And it isn’t just that these designs aid the drama. Desmond and Gillis are conscious of the spotlight and that they are being filmed (they work in the movies, after all, and Gillis is narrating events). There is a lot of live filming here – a huge technical accomplishment – on a massive screen. And while the idea has been popular for a while, even taking us outside the theatre at one point, Lloyd shows himself as a master of this.

Sunset-Boulevard-Grace-Hodgett-Young-and-Tom-Francis-credit-Marc-Brenner
Grace Hodgett Young and Tom Francis

All this and no mention of the cast – all of them stars, each bringing more excitement. This is a large ensemble, Fabian Aloise’s bold choreography is in keeping with the production’s stark drama, creating fragmented imagery that recalls an old movie and adds focus along with a sense of foreboding.

Tom Francis and Grace Hodgett Young play the younger leads. They have slim credits between them, but both performances are justifiably confident. They sound great, act with skill and, given Lloyd’s unerring eye for talent, you can’t wait to see what they do next. While Francis has the bigger part – and tackles his role with great subtlety – Hodgett Young leaves a big impression, showing a sweet heroine who isn’t a pushover.

Sunset-Boulevard-Nicole-Scherzinger-credit-Marc-Brenner
Nicole Scherzinger

Finally, Nicole Scherzinger takes the lead as Desmond and gives a performance that will surely change her career. Scherzinger has a powerful voice and knows how to use it. She can belt out a note, but only at the right moment. She gets what Lloyd is doing, using the cameras for fun, drawing the focus to her face. Boldly, some iconic lines are, almost, thrown away. This is a brave performance, with Scherzinger never scared of looking the fool and becoming vulnerable – and moving – as a result.  A finale that turns the action into something like a horror film is stunning. Scene after scene, Scherzinger and Lloyd surprise and excite.

Until 6 January 2023

www.sunsetboulevardwestend.com

Photos by Marc Brenner

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“What It Means” at Wilton’s Music Hall

James Corley’s new play brings a famous essay, a piece with a revered place in the Gay Liberation movement, to the stage with intelligence and style. We get the text and also the story of Merle Miller’s 1971 article for the New York Times, entitled ‘What it means to be a homosexual’. Corley has Miller present the prose while taking the audience behind the scenes.

The biographical route makes sense. Not only was the essay personal but focusing on Merle – the man – makes the evening moving and funny. We learn that his coming out was slow and painful but, also, what a wit Miller was. And the strategy leads to an incredible performance from Richard Cant, who moves from raw emotion to dry observation and makes the show worth seeing for his performance alone.

The adaptation is full of interest, energetically directed by Harry Mackrill. Presenting to the audience sometimes confrontationally, the convivial tone has surprising tension as the action flits across time in a brilliant fashion. Showing the impact of painful moments in Merle’s past might seem a touch contemporary. But how his closeted status pervaded every aspect of his life is deeply moving.

A final section is the play’s finest… It’s a surprise to find that What It Means is not a one-man show.

Richard Cant and Cayvan Coates in 'What It Means' at Wilton's Music Hall
Richard Cant and Cayvan Coates

The appearance of Cayvan Coates, in a small role as a troubled youth, is inspired by one of the many letters that the article provoked. Coates makes an entrance via the audience so that, although the character is from Miller’s own day, the connection feels immediate. The character needs help and he needs it now.

Miller is aware he had no role models – no representation, as they say nowadays. But doesn’t the play itself provide just that? Like its source material, What It Means becomes a kind of activism. Having Miller still serve as an inspiration is a fine way to celebrate his legacy, and it is a neat move that makes the play is a fitting tribute. 

Until 28 October 2023

www.wiltons.org.uk

Photos by Danny Kaan

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“Gentlemen” at the Arcola Theatre

Originally scheduled to open just before the pandemic lockdown, Matt Parvin’s play about ‘woke’ culture at a university is still topical and dramatic subject matter. Irreconcilable positions seem depressingly current and can make for good dark comedy. But the gap caused by Covid has made the arguments here feel worn and, regrettably, the piece ends up predictable.

 

Laddish Greg is the obvious bully. Parvin spends time on the character’s working-class origins and as a result creates the most believable figure. Taking the role, Charlie Beck manages to convey that Greg is neither as clever or as funny as he thinks he is – a neat manoeuvre – while suggesting both his determination and vulnerability.

 

Trying, and failing, to handle Greg is the college welfare officer, played by Edward Judge. He’s an ineffective liberal it is too easy to mock, and there are too many jokes about him being close to the age of the students. It’s a great credit to Judge that he handles the weak humour so well and makes the character sympathetic.

 

The twist is that Greg’s victim, Casper, a bisexual student he is said to have assaulted, has a plan. Here Issam Al Ghussain goes from “waiting meekly” to downright scary and he does both well. In a move to strike fear into the hearts of Daily Mail readers, he declares war: “When I get triggered, I pull a trigger”. He complains to the college, organises protests and speaks to the press…all to prove a point.

 

Of course, some exaggeration is necessary. It might be bold to air common complaints about political correctness. Or show offensive tropes about bisexuality. Presumably the idea is to feed into fears in order to expose them. But when plot and prejudices are silly there isn’t much challenge to the audience. Unfortunately for Parvin, the ideas here don’t surprise anymore. 

 

There are some clumsy stumbles, too. I don’t believe the boys would undress in front of the welfare officer (or be allowed to) – you can see the plot point too soon. The consideration of class is uneven – we need to know more about the other characters. And class would be a concern (however superficial); it’s tough to imagine Casper wouldn’t pepper sentences with the word intersectionality. In general, it’s hard to believe all three – whose intelligence is established – wouldn’t work out what was going on from the start.

 

On a positive note, careful performances do the actors credit. Richard Speir’s direction is confident and unrushed. And a scene after the interval, a dream sequence for Casper, is intriguing: here is the only suggestion that Casper is motivated by fear. Otherwise, Casper is just angry. And it is a great shame there is even the chance we can dismiss the character so simply.

Topicality is good and challenging views is admirable. And playwrights aren’t obliged to provide answers. But Gentlemen has too many silly fears and familiar tropes as targets to be effective, while it fails to raise its own, new, questions.

Until 28 October 2023

www.arcolatheatre.com

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“Othello” at the Riverside Studios

It’s easy to read Shakespeare’s tragedy as a play about its villain, Iago, as much as the title character. But this new version from director Sinéad Rushe has three performers against one! Michael C. Fox, Orlando James and Jeremy Neumark Jones all play Iago and embrace the project as a team. The idea is interesting and the result exciting. 

The trio aren’t taking turns as Iago, they appear on stage, mostly, at the same time. They alternate the lines, or speak in unison. The results fascinate. It’s especially effective for soliloquies, suggesting an internal dialogue. And it aids Iago’s often feeble arguments as the three gang up on victims. The idea also works well for crowded fight scenes or when Cassio is drunk. Iago, the “demi-devil”, becomes supernatural as he can be in so many places at the same time. 

“Dull not device by coldness and delay”

The production even takes advice from Iago! The abridgement prevents distraction from the concept. And a good deal of passionate torment is clear from all characters. Rushe has a firm hand and bold approach that makes action clear and focused. There is an imbalance – how could there not be – and, of course, it helps to know the play well. But the focus is intentional, the idea proves fruitful and the execution is strong.

Martins Imhangbe and Rose Riley

It should be stressed, the production has an excellent Othello: Martins Imhangbe is dignified and moving. Imhangbe brings admirable restraint to the role and is a powerful stage presence. His Desdemona – Rose Riley – is great too, passionate and making every line fresh. Fine performances from Rachel-Leah Hosker and Ryan O’Doherty, taking four roles between them with apparent ease, also deserve mention. 

Surprisingly, the eye-catching triple casting of Iago isn’t the only highlight of the show. Just as impressive is how this Othello sounds. Not only is the delivery of the lines accomplished, the sound design from Ali Taie is super. A variety of effects startle, intrigue, and aid the audience. We even get to see how some are achieved: there’s a great sea crossing scene and each Iago makes a show of using their microphones. To top it all, original music from Fox, including a gorgeous Willow Song beautifully sung by Riley, is excellent, once again providing pace and emotion. There isn’t a dull moment with the device in this production.

Until 29 October 2023

www.riversidestudios.co.uk

Photos by Mark Douet

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“Flowers for Mrs Harris” at the Riverside Studios

A lot of this musical, about a charlady with a dream, is admittedly simplistic. The story is thin – the eponymous heroine works to buy a dress from Christian Dior – while the characters, including clients and haute couturiers, are a bit silly. The music and lyrics, from Richard Taylor and Rachel Wagstaff, share a sentimentality that’s not to all tastes. But it is effective. And since the show isn’t scared of a cliché, let’s add another: Flowers for Mrs Harris is incredibly moving. By the end there isn’t a dry eye in the house.

There are problems with the source material, a novel by Paul Gallico, that Wagstaff’s competent book can’t overcome. This is a patronising view of post-war poverty that is uncomfortable. Observations on class are so blunt they are crass – I’ve seldom heard so many dropped aitches or calls for cups of tea. Ada Harris’ dream doesn’t make much sense, but efforts to explain a gown as a symbol and regard the dress as a work of art lead to some of the best songs and make sure the audience cares about her quest.

This is a show that aims to be heart-warming and really wants you to care – each character gets the chance to show the best of themselves. It’s easy to praise the fact that our lead is an older woman – a widow with no children – as we don’t see them as a focus often enough. It’s a demanding role that tests even the incredible Jenna Russell’s abilities. Mrs Harris is so unselfish she is hard to believe. That people help her so much doesn’t quite fit with the idea that she is invisible. Nonetheless, Russell manages to give Ada some edge, with flashes of frustration, and makes the character’s charisma clear.

Bronagh Lagan’s direction and Nik Corrall’s clever set make the show feel full, and the standards are high. The production is, however, a little too long. It lacks the zip of Chichester Festival Theatre’s version (although, having seen that online, the comparison isn’t quite fair). Some of the plot twists are good but drag. Take the on-stage presence of Ada’s deceased husband Albert – a role Hal Fowler has a grand go at. Having the two talk and sing packs an emotional punch, but do we need to see Albert so many times to know Ada that is lonely?

It’s the strong contrasts in Flowers For Mrs Harris that make the show winning. While there is a claim that “nothing is out of reach”, final comfort for its character comes with simple flowers. And, while there are many grand gestures, there’s also reticence and modesty. You might claim the such qualities as particularly British – they are certainly appealing and make the musical just that little bit different. The morals are twee, even conservative with a small c, but a show that makes you go ‘ahh’ so often must be doing something right.

Until 25 November 2023

www.riversidestudios.co.uk

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“The Standard Short Long Drop” at The Vanguard, Camden

Rachel Garnet’s historical prison drama is a tidy play that offers a prism to look at crime and capital punishment. Set in 19th-century York, a man on death row is offered a reprieve if he will act as hangman for his cell mate. The dilemma arrives swiftly and the debate is an interesting exercise. 

Garnet’s skill as a writer along with strong performances and precise direction from Natasha Rickman ensure success. The key is taking gallows humour in a surprising direction – Garnet takes wit seriously. The funny remarks come from the characters’ deepest fears and beliefs. Ultimately, it is the humour that engenders the play’s humanity and makes it moving.

Prisoner Alistair’s dry logic, his apparent resignation, is contrasted with the naivety of his younger companion, Ludley. But we know one can’t be as calm as he seems and the other can’t be as stupid! Kevin Wathen gives a carefully layered performance as Alistair, making the character suitably imposing. Per Carminger is passionate and convincing as the “tender soul” Ludley. There’s tension in getting to know the men’s crimes and Garnet makes what they have done so satisfyingly complex, the play doesn’t deserve spoilers.

As for the history, without giving too much away, Garnet has a brilliantly light touch. One small query – the play might look more at religion, especially given the suggestion of Catholicism. A concern with class has suitably Victorian overtones but is given impressive urgency. There’s a passion in discussing factory conditions I don’t remember from my social and economic history classes – a real achievement.

We get to know the men as they get to know each other, Rickman complements the script while the performers relish the roles. Of course, it all makes Ludley’s task harder. That the victim tries to help might seem improbable but both characters see the play’s point – they are trapped in an evil system. Alistair becomes a teacher, but also counsellor, maybe even confessor, to his own executioner. There’s a sting in the piece that is planned, effective, and builds marvellously.

Until 22 October 2023

For tickets click here

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“Beautiful Thing” at the Theatre Royal Stratford East

There is a reverential air to Anthony Simpson-Pike’s revival of Jonathan Harvey’s coming-of-age story. As a celebration of the play’s 30th anniversary, this much-loved piece is determined to please fans… and it succeeds. The romance between young neighbours Ste and Jamie has more optimism and fun than ever, so relax and enjoy.

Simpson-Pike and his cast provide studied performances that are carefully restrained. Raphael Akuwudike and Rilwan Abiola Owokoniran take the lead roles and make a suitably sweet on-stage couple. That both boys are bullied is in the background, with little time taken over potential trauma. Ste’s home life, in particular, seems glossed over, with little sense of threat from how his violent father might react to his sexuality.

Other roles come close to stealing the show. Shvorne Marks plays Jamie’s mother, Trieve Blackwood-Cambridge her boyfriend, and Scarlett Rayner is Leah, who lives next door. All three have excellent comic skills and appreciate that, while Harvey’s characters are larger than life they are not caricatures. The women, both well-written roles, make every eye roll or insult count. It’s all hugely entertaining.

Since most audience members know most of the jokes, the evening has a nostalgic feel. Of course, it is nice that people are no longer shocked by two schoolboys in love (they are all over Netflix, nowadays). But it is tempting to wonder whether updates might have been made. The characters are normally cast as white, and Simpson-Pike has changed this, but I only spotted one reference to the alteration and surely more might have been done?

Instead, there’s an air of celebration and an admirable emphasis on openness that is cleverly brought to life by Rosie Elnile’s fine design. The communal nature of the housing estate setting would warm a 1960s architect’s heart. Having the boys’ bed come out onto the flat’s balcony is a nice, suggestive, touch. And the production’s finale, where Elnile delivers a neat surprise, reminds us how stirring Beautiful Thing is and ensures everyone leaves the theatre happy.

Until 7 October 2023

www.stratfordeast.com

Photo by The Other Richard

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“Vanya” at the Duke of York’s Theatre

The idea behind this new work, described as ‘after’ Chekhov’s masterpiece, is to have one performer take all the roles. If your first response is to ask why, trust me, there is a point. An important point. Vanya simultaneously distils and expands its source material: showing the original as never before, while exposing the power of creativity itself in a way that is inspirational. This show is magical.

Director Sam Yates, designer Rosanna Vize, playwright Simon Stephens and the solo performer, Andrew Scott, are credited as co-creators. And what they have created is very special indeed. The project might seem foolhardy, that it works so well is a continual delight. Vanya is funny – the limitations of having one performer are playfully acknowledged. But – quickly – we start to really see all the characters; each role becomes fully – literally – realised.

Yates, a versatile director, is clearly hard to intimidate; he paces the production, close to two hours with no interval, gracefully. There’s nothing showy, no distractions, and he has the confidence to let us enjoy the text and the star. Vize’s design cleverly combines theatricality, there are grand curtains and plywood, with the domestic. There is a playful balance of artifice and the everyday.

Stephens is a bold writer of ferocious intelligence. It certainly helps to know Uncle Vanya, but pointers as to what is going on come with skill as well as providing jokes. Importantly, humour runs through the script and scenario too so that Chekhov’s comedy becomes clear. There’s a lot of insight into the original; the presence of Anna, Vanya’s deceased sister, is revelatory. Chekhov’s themes of boredom and happiness – with all the dramatic permutations around love, age, and ambition – are vivid and alive.

As for the performer… it must be odd to be as talented as Scott! Expectations might even detract from his achievement, as everyone just knows he’ll be great. But swapping roles of such different ages and genders so brilliantly, for such an extended duration, is breath-taking.

Technically, distinguishing each character by carefully using small props or gestures is fascinating. But Scott makes the show uncannily emotional (he always expresses vulnerability marvellously). There are a lot of unhappy people here and you feel for them all in turn. Even the intellectual Serebryakov, usually so unsympathetic and recast a pretentious film director, is heart-wrenching. And Scott is a stong comedian, the cackles he gets from talking about cartography show this. All amazing, but when it comes to scenes of physical intimacy between the characters… what to do? Scott subtly wrestles with himself. Stroking or grabbing a hand, or pushing himself against a wall. Somehow, and I cannot explain it – the show is sexy. And, I can’t help repeat myself, such moments in the theatre are magical.

The idea of art that, like Serebryakov’s films, “defines”, is mocked by Vanya. The character makes his point forcefully. But this is theatre that will be remembered and talked about for a long time. The only problem is running out of superlatives to describe it.

Until 21 October 2023

www.thedukeofyorks.com/vanya

Photo by Marc Brenner

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“anthropology” at the Hampstead Theatre

Playwright Lauren Gunderson takes an impressively calm approach to artificial intelligence. The technology is here, the question is what we do with it. So rather than examine existential threats, anthropology is a thriller – a neat one, if flawed – that has AI solving a crime.

Gunderson takes many already established ideas about AI – which means we don’t learn much that is new – but our suspicions and fears are used effectively. Like Jordan Harrison’s play, Marjorie Prime, the technology helps someone grieving: a programmer called Merril creates an algorithm based on her missing sister, Angie. What happens next is a good twist and the plot is firm.

anthropology is smart and entertaining, with nice turns of phrase and well-handled light touches. But it is also cold. Despite Merril’s mental health, the breakdown of her relationship, and her troubled mother making an appearance, she is a distant figure. Indeed, all the characters are strangely rarefied. Given a title that indicates a study of people and societies characterisation is a struggle and the quartet of people we meet too small a cross-section.

Emotion is led by the strong cast, carefully guided by director Anna Ledwich. Taking the lead as Merril, a bravura performance means MyAnna Buring impresses – she can command Georgia’s Lowe’s bare stage and isn’t overpowered by Daniel Denton’s impressive video designs. Dakota Blue Richards has the tough role of Angie, (mostly) a disembodied voice or video, and excels at both sinister hints and comic touches.

The sisters are bravely unlikeable. It’s interesting to watch how the AI programme changes – as it gets better, Angie becomes worse! Or question how much Merril forces her unhealthy ideas on those around her. But loosely sketched back stories need to be clearer. All the characters seem trapped in their trauma and there’s little sense of them existing outside the scenario of the play. The roles of mother and girlfriend suffer most – while Yolanda Kettle and Abigail Thaw do a good job – their characters are flat and it is hard to care about them.

Unless…there is a deeper irony to anthropology? AI is based on patterns and both the play, and its characters, could be said to follow models. Gunderson uses ideas from science fiction, from thrillers and even the film Casablanca. Having a sense of what comes next – how much you can predict or, maybe, what we expect from a genre – runs through the piece. If that is the idea then it is a playfully intriguing one…but maybe better as a concept than as a drama.

Until 14 October 2023

www.hampsteadtheatre.com

Photo by The Other Richard