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“The Little Big Things” at the Soho Place Theatre

This new musical is based on an inspirational memoir by Henry Fraser. A promising rugby player, Fraser had a life-changing accident that left him tetraplegic at only 17.  His brave acceptance of his condition and subsequent success as a mouth artist is a heart-warming story that’s hard to criticise. Yes, you will cry. But that doesn’t automatically make a show based on his life a hit.

Following Fraser’s positive outlook, there is a lot to be upbeat about here. The book for the show, by Joe White, is solid. The idea of having Fraser portrayed by two performers (Jonny Amies and Ed Larkin, who are both good) is great. One is Fraser’s ‘pre-accident’ self who stays with the other, haunts him you might say. The two need to say goodbye so that life can move on.

The show’s structure allows plenty of time for Fraser’s family. There is detail about how his three brothers (played by Jordan Benjamin, Jamie Chatterton and Cleve September) cope. And, of course, his parents, played by Alasdair Harvey and Linzi Hateley. Everyone does good job. That so much care is taken over how everyone feels is admirable.

Luke Sheppard’s direction also gets plus points. Sheppard gets a lot out of his mostly young cast and fills the stage with energy. There’s colour, too (remember, Fraser is a visual artist), with Howard Hudson’s lighting and Luke Halls’ video designs making the most of the new venue’s swanky facilities. It’s all aided by strong choreography from Mark Smith, which includes the super touch of using sign language. The show’s inclusivity is smart: making sure anything the able-bodied Amies does is followed by Larkin in his wheelchair is a powerful point and a dramatic highlight of the whole show.

For all the professionalism in the production, and a very hard-working cast, problems with The Little Big Things are too large to be ignored. The humour can most generously be described as plucky. Only Amy Trigg, as Fraser’s physiotherapist, really manages to land jokes. A lot of dialogue, which may well be authentic, comes across as obvious or even touching on manipulative when played out on stage.

Worse is still to come. The music, by Nick Butcher, is unimaginative. There’s an appreciation that different characters get different sounds. But none of the numbers interests and too many sound like bad boy band songs. The singing is good, but it is painfully obvious when strong voices (especially Gracie McGonigal and Malinda Parris) bulk out poor tunes. The lyrics, co-written by Tom Ling and Butcher, are horrid. One number is even based on get well cards. Far too many are inspiration quotes, the kind you find on social media. If you want to put them in a frame, that’s your choice, but please leave them out of songs.

Until 25 November 2023

www.sohoplace.org

Photos by Pamela Raith

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“That Face” at the Orange Tree Theatre

It’s hard to believe Polly Stenham was just 19 when she wrote her award-winning play. Fifteen years after its première at the Royal Court, this solid, focused writing feels just as fresh, while its harsh yet humorous look at mental health is as urgent as ever.

Parentification is the theme (that’s from the programme) as mother Martha is looked after by young son Henry. These are tremendous roles for Niamh Cusack and Kasper Hilton-Hille. Cusack’s experience means she can make her character magnetic. While her actions are upsetting, even inexcusable, traces of the woman she was before illness are clear. Martha’s own trauma makes her sympathetic and her love for Henry is twisted but indisputable. Hilton-Hille makes a professional stage debut whose precociousness mirrors Stenham’s back in 2007. It is heart-wrenching to see how the youth has tried to save his mother and the impact it has had. Henry is “a good boy with bad parents” but there is a frightening rage to the writing and performance that Hilton-Hille conveys brilliantly.


Youth is what we’re about – which makes sense – but also makes Martha a mystery. And the only other adult role suffers. Dominic Mafham does an excellent job as the absent father, arriving from Hong Kong late in the day. But while the character deserves the blame he gets, such finger pointing comes close to simplistic and his inclusion in the play feels rushed.

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Kasper Hilton-Hille and Ruby Stokes

On firmer ground, the play tries hard to be more than a shocker, and director Josh Seymour does well to bring out ambivalence – Martha and her boy aren’t allowed to steal the show. A daughter provides an excellent role for Ruby Stokes, a second fantastic stage debut, who impresses with precious moments of restraint. She’s a foil, for sure, but still a full character – and funny. A schoolfriend is also successfully written and gives us another performance to praise, this time from Sarita Gabony. Both girls could be dismissed as spoiled brats – Stenham has a keen eye for privilege in many forms -until you see what they are going through.

There’s no doubt that That Face is fraught, possibly too much so for all tastes. But, importantly, much of the drama and self-indulgence is not just because of the teenagers. Martha’s “upside down world” is too obvious at times. And the “nightmarish quality” (cleverly reflected in Eleanor Bull’s design, which includes an excellent revolving bed) referred to is far from subtle. There are lots of uncomfortable moments that Seymour handles bravely. If some of decisions might be better suited to a less intimate venue, that might bode well for the show’s future. I could see a transfer for this one – the play and production deserve it.

Until 7 October 2023

www.orangetreetheatre.co.uk


Photos by Johan Perrson

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“God of Carnage” at the Lyric Hammersmith

Yasmina Reza’s 2008 play was a huge hit in Paris, London, and New York. The story of parents who meet to discuss their sons fighting – and end up at odds themselves – is neat and entertaining. This production, from Nicholai La Barrie, makes it easy to see why the play was such a success.

The show is funny and thought-provoking – two big ticks. The way the adults become “infantile themselves” might not be subtle but it is amusing. Moving from questions of parenting to a battle of the sexes – as neither marriage is happy – ensures tension mounts. Regrettably, the production doesn’t add much to appreciating the piece. The cast are competent, everything runs slickly…but there no surprises.

There’s plenty of closely studied work to enjoy though. Freema Agyeman and Martin Hutson play the parents of the child who has been injured. From “people of good will” to an admission of being only “moderate on the surface”, the performers inject humour if, possibly, a little too much energy. Ariyon Bakare and Dinita Gohil play opposite them, their more financially successful characters are also played for laughs from the start. The result comes too close to flat, especially Alain who, even given that he is a lawyer, we dislike too easily!

If too much is overplayed, especially some unconvincing machismo and onstage drinking (only Gohil really manages here), there can be no doubt about the privilege with a capital P in the play. Each of the performers comes over as entitled in slightly different ways. As the characters start to argue and say that the day is the worst of their lives, there is less and less sympathy for any of them. Some bold moments come with Alain’s claim they are all making too much of boys fighting. La Barrie, and his cast, do well when focusing attention on this aspect of the script.

Despite being only 15 years old, the play hasn’t aged well. It’s possible a stronger sense of place and time might be needed. Lily Arnold’s gorgeous design doesn’t do much to help here (although the revolve is handled exceptionally well by La Barrie). Time has blunted some of Reza’s satirical edge. It’s not just talk about mobile phones and man bags; of course, Alain’s phone calls are supposed to be annoying, but anger about them arrives too quickly.

More seriously, it’s easier nowadays to see the confrontation that is going to arise between all four characters. It’s a shame to say it, but it’s almost hard to believe they wait so long before fighting. With less tension, there is little sense of danger in the production. While Reza’s work is often described as a comedy of manners, there are serious moments. The questions around human nature are clear; is it going too far to entertain the idea of a clash of cultures? The piece could get far darker. With the drama diluted, this God of Carnage ends up too down to earth.

Until 30 September 2023

www.lyric.co.uk

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“Operation Mincemeat” at the Fortune Theatre

Having started at the New Diorama Theatre, and developed at Southwark Playhouse, this show’s success in the West End is sure to warm the hearts of theatre lovers. A small show that has taken the town by storm is always fantastic. Apparently, Operation Mincemeat has a record number of stars from reviewers… and I’m happy to add another five.

With book, music and lyrics by David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts, the first key to success is surely the great story. Operation Mincemeat was a military intelligence plan to misdirect Hitler during World War II that, although based on real events, is truly unbelievable. The show is action-packed and exciting but told with humour: there are some damn good jokes here.

The music and lyrics are, mostly, funny, and very, very, smart. There’s a mix of styles for fun, but the score is overall nostalgic – and cleverly so. Not that it is a period piece (if there’s a gag to be had, they go for it). While it is particularly British, the music doesn’t just remind you of the 1940s. There are nods to music hall tradition and G&S. Many of the numbers are ambitious, and I don’t think there’s a bad one here.

As to the cast, the production only has five members including Cumming, Hodgson and Roberts. Performing as the intelligence officers and their secretaries, as well as everyone else they meet, they cannot fail to impress. While the roles of Ewen Montague and Charles Cholmondley (who came up with the plan) feature most, every member of the quintet is fantastic.

There are, also, a lot of ideas. Gently at first, with many sweet jokes about Britishness – the subject of national identity comes into focus. Themes about manhood, that have been cleverly laid, come to the fore. The gags don’t stop, but a meta theatricality is used to give the show weight.

Which points towards what I like best. Yes: the score is fantastic, it’s one you want to hear again as soon as it’s over. But Operation Mincemeat still feels like a fringe show – and is all the better for it. Full of invention, wit and raw talent, its low-fi approach is hugely winning. It is a valuable addition to the West End, highlighting what’s important in theatre. Mission accomplished.

Until 15 June 2024

www.operationmincemeat.com

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“As You Like It” at Shakespeare’s Globe

The potential for Queer interpretations when it comes to this Shakespeare romance is clear. Putting a spin on our heroine Rosalind’s role-playing isn’t new (Cheek By Jowl’s 1991 production is still my favourite example). But director Ellen McDougall’s production, which embraces all kinds of identities, is full of ideas and a hell of a lot of fun.

McDougall and her cast enjoy the venue. As well as the gender-fluid casting, there are plenty of touches, like the audience participation, that feel characteristic of Shakespeare’s Globe. The energy is high, especially from our lead lovers Rosalind and Orlando, played by Nina Bowers and Isabel Adomakoh Young respectively, who both bound around the stage. There’s strong comedy from Macy-Jacob Seelochan’s Celia (a very neat performance) and Alex Austin’s Jaques. Ambiguity is emphasised and difference played with to raise questions.

Transformation is the key: this forest of Arden is a place full of potential. The Queer politics are as broad as possible – the approach might be called holistic. Ideas about nature run through the show (lavender and apples are handed out to the audience). Much is made of Orlando’s servant Adam dying, with an effort not to throw “unregarded age” into a corner but see it as part of cycle of life. It’s a shame that, despite a strong performance from Stephanie Jacob, the moment isn’t moving. But the ideas are interesting and have a firm base in Shakespeare.

The music, which features heavily, isn’t a successful as it could be. Using pop songs in Shakespeare is common enough, but mashing up well-known tunes is complicated. Composer Michael Henry’s work is accomplished but proves too much for a cast who are not, primarily, singers. Max Johns’ costumes, though, are excellent, embodying the show’s intelligence and sense of rebellion. Johns transforms elements of historic clothing to play with gender and sexuality. Each outfit is bright, fun and smart in every sense of the word.

As You Like It isn’t as enlightened as most of us would like. There’s no ignoring misogyny or class and, in the end, order is (quickly) re-established. But if anywhere kicks against preserving Shakespeare just for the sake of it, it’s here. The production has additional text from Travis Alabanza to boost ideas about family and friendship. Efforts are made to emphasise joy and jokes. And, if things get too tricky, we’re told we are going to skip to the next scene! This is the night’s finest, winning moment. McDougall bring a sense of honesty – of working things out – that is exciting.

Until 29 October 2023

www.shakespearesglobe.com

Photos by Ellie Kurttz

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“La Cage Aux Folles” at Regent’s Park Open Air Theatre

After so many fantastic musicals during his time as director at the venue, Tim Sheader’s final revival at Regent’s Park Open Air Theatre deserves acclaim. The much-loved 1983 piece is produced with, well, lots of love. Clearly close to many hearts, the staging is carefully crafted, Sheader’s work impeccable and the audience reaction euphoric.

La Cage Aux Folles is undoubtedly effective – but it is simple. The book by Harvey Fierstein is a model of clarity. Yet the story of drag queen Albin and his partner Georges’ child getting married doesn’t take much time. And although each of Jerry Herman’s songs are hits (not just I Am What I Am), there really aren’t that many tunes.

So, the strength of the production comes with the performances at the eponymous cabaret. Stephen Mear’s choreography is fantastic, the performers acrobatic, and Ryan Dawson Laight’s costumes accomplished (with some lovely nods to the 1970s setting). It wouldn’t be surprising if members of this chorus – or ‘Cagelles’ – each had a show.

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Carl Mullaney and Billy Carter

This is not to detract from the leads, from whom Sheader has secured strong comic performances. Billy Carter plays Georges and has the night club host patter down well. Carl Mullaney’s experience as a cabaret host also shows with his confident Albin. Whenever either has a microphone in hand (nice touch) there is fun. Mention should also be made of Ben Culleton, as their son Jean-Michel, who impresses with a fine voice and great dancing (with Sophie Pourret).

Behind-the-scenes action sometimes feels a little lost in the space. Seeing the Cagelles from the other side of the curtain is a nice idea (and it gives Hemi Yeroham a chance to shine as a stage manager), but you can’t help wondering if it’s all to help with costume changes. That said, the changes of outfits are worth it, and the stage needs to be big to accommodate dance scenes that release a real sense of euphoria.

Private moments suffer from a similar problem – it sometimes feels that the show might be better in a more intimate location. Georges and Albin’s romance convinces but seems small next to the big numbers. Maybe the change of scale is a sweet observation of its own? Along with their son, there is a palpable sense of care and closeness that is touching. La Cage Aux Folles has a simple message about family (hopefully one we’ve all now learned) and it makes it powerfully enough to get the audience up on its feet.

Until 23 September 2023

www.openairtheatre.com

Photos by Johan Persson

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“Next to Normal” at the Donmar Warehouse

Fifteen years after success in New York, this hard-hitting musical from Brian Yorkey and Tom Kitt has a London première to be proud of. Under the musical direction of Nick Barstow, the show sounds great while director Michael Longhurst excels in sensitivity. The performances are superb, among the best I’ve seen in a long time. In fact, the production is so strong that it might be better than the show itself.

Next to Normal’s subject matter is mental illness. The lead protagonist, Diana, suffers from bipolar disorder; we see her treatment with drugs, therapy and even ECT. As if that weren’t emotive enough, Diana’s problems are connected to the death of her baby son Gabe who, imagined grown, haunts her as a psychotic hallucination.

It’s an important topic, although obviously not one that is easy to watch, let alone perform – Caissie Levy, who takes this lead role, is a marvel and her voice is excellent. Of course, there’s plenty of angst in her songs, but the score also has variety and Levy manages to inject surprisingly light touches. This is a woman living with her illness, who – making sandwiches and looking after the family – has to carry on… somehow. The detail in the performance, as with the care in Yorkey’s book, feels authentic and engaging.

The show only gets more impressive because the focus is almost as much on Diana’s family as her. More detail – a lot of it distressing – comes with the always-excellent Jamie Parker, who plays the husband. And there’s Diana’s daughter, Natalie, who ironically feels like an “invisible girl” and has plenty of problems of her own.

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Jack Ofrecio and Eleanor Worthington-Cox

Eleanor Worthington-Cox takes the role of Natalie and is joined by Jack Wolfe as her deceased brother. It is a huge testament to both, that, despite how fraught the piece is, they show their roles as, somehow, regular teenagers. Given that one isn’t real, that really is remarkable! Completing a trio of younger performers is Jack Ofrecio, who plays Natalie’s boyfriend and is also excellent. The level of sophistication in both music and lyrics is consistent for these roles and the performances just as good.

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Jack Wolfe

Next to Normal is far from a teen drama, but the depictions of youth are extraordinary. The pressures on all three younger characters, particularly interesting when we consider one as a figment of an older person’s imagination (who even gets the best number), raise questions about nature and nurture. While showing the impact of long-term illness, Natalie and her beau have regular problems, too. It all adds up to great drama.

Up until the end, it is all pretty much faultless – if hard-going. And resolving a story like this is always going to be a problem, especially given how in-depth and intense the show is. Maybe we should be grateful the end isn’t tragic… but Diana’s decision to abandon treatment is a shock. While she considers giving up medication more than once, the final decision to reject help seems reckless to the point of being disturbing. Maybe it is best to point out that it doesn’t quite make sense dramatically. It’s an odd end to a fantastic show.

www.donmarwarehouse.com

Until 7 October 2023

Photos by Marc Brenner

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“Dumbledore is So Gay” at the Southwark Playhouse

Robert Holtom’s short play is, undeniably, niche – the audience demographic is specific. It looks at the youthful experiences of three friends who are Harry Potter fans, so it helps to know the franchise. And the show’s origins on the fringe, at the excellent Vault Festival, are clear, with fun had at the limited cast numbers. But within what some might see as constraints, the piece is strong: focused, solidly written, well-performed and with original touches.

Jack, who is gay, deals with bullying and a girlfriend while having a crush on his best friend. The focus is homophobia (the title comes from schoolyard slurs). Holtom writes insightfully about prejudice, highlighting small insults as well as big threats. An older offstage character called Norman is particularly well thought out. The outcome of the aggression experienced is moving. And, impressively, there is a focus into the damage that internalising hatred can cause.

In case this sounds worthy, it should be stressed that Dumbledore is So Gay is funny (particularly if you’re part of the fandom). The cast are strong comics and director Tom Wright knows this is one of the show’s strengths. There are the “drunken kisses” you might expect, which are sweet. When the actors double up as parents or teachers there’s even more fun. Close observations lead to lots of nodding in the audience.

Now for the twist… Jack can travel back in time (again, something from Harry Potter), so Holtom offers different versions of a coming out and coming-of-age story. Taking the lead, Alex Britt shows subtlety in the variations of this – a smart move. The conceit also means that Jack’s friends Gemma and Oli have characters fuller than might be expected, making strong roles for Charlotte Dowding and Martin Sarreal, who are also superb.

The different scenarios are increasingly positive without feeling forced. The fact that all three characters “deserve to be happy” is plenty – rather than prescribing what that happiness should be. Holtom makes a point of being positive, so you’re sure to leave feeling good. It’s a big achievement for a small show.

Until 23 September 2023

www.southwarkplayhouse.co.uk

Photo by David Jenson

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“Death Note: The Musical” in Concert

There a strong fan base for this project based on Tsugumi Ohba and Takeshi Obata’s manga series. Three shows at the London Palladium sold out quickly – a transfer has been announced – leading to a sense of excitement for the European première of something that promises to be different.

Coming in cold… it’s a mixed bag. The story is good – it’s sold 30 million copies – and the book for the show, from Ivan Menchell, is accomplished. There are strong characters who are admittedly vehicles to raise issues but nonetheless intriguing. A schoolboy called Light, accompanied by a Shinto Kami, can kill people by writing their names in a book. It’s a neat way to raise moral dilemmas. And there’s a detective, the enigmatic ‘L’, tracking down Light for his vigilantism. But the show isn’t as bold as it might be: strong performances and a good atmosphere are its best points.

Concert is a stingy description. The set doesn’t move and there isn’t much choreography, but the lighting design (Ben Cracknell) is advanced, the costumes (Kimie Nakano) good and the characters well developed. Director Nick Winston has focused on his performers and, as a result, the roles are impressively realised by a strong cast.

Joaquin Pedro Valdes sounds great in the lead and shows Light’s arrogance – this hero starts with good intentions, but power goes to his head. Dean John Wilson plays the detective whose motivation seems more intellectual stimulation than justice and is, as usual, excellent. In the middle, often literally, is Ryuk, a supernatural figure who fascinates. This is a great role (performed brilliantly at the Palladium by Adam Pascal) – a real crowd pleaser with an element of danger and humour whose big problem is his sense of boredom!

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Frances Mayli McCann and Aimie Atkinson

There is less success with two female roles: a pop star called Misa (who falls in love with Light) and another Kami parallel the main story but they do not complement it. Both Frances Mayli McCann and Aimie Atkinson have strong voices, but their songs aren’t as good and their characters are less well written. The scene of Misa’s interrogation is ridiculous – let’s hope that was the intention.

Jack Murphy’s lyrics deserve praise if only for their efficiency – it’s all very clear. And, as for the songs, Frank Wildhorn can write a tune. If sometimes unimaginative, they are often catchy. There is an effortful mix of styles in Death Note so the show overall shouldn’t tire.

A lot of the music is earnest, which works well with the story. But the score sounds American through and through. Maybe that’s better than some kind of appropriation. But it lessens the show’s USP compared to your average musical… and that seems a shame.

Transferring to the Lyric Theatre for six performances, 7-11 September 2023

Photos by Mark Senior

www.deathnotethemusical.co.uk

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“The Garden of Words” at the Park Theatre

At a guess, Susan Momoko Hingley and Alexandra Rutter’s adaptation of Makoto Shinkai’s anime suffers from being too enamoured of its source. If you don’t know the original novel or film, then the story, structure and characters are confusing on stage. While bringing the genre to the theatre is an interesting project, I fear this production is for fans only.

We follow two school pupils through snatched scenes. Takao wants to design shoes and plays truant to talk to an older woman in the park when it rains. Meanwhile, Shōko has an abusive relationship with a basketball player conducted entirely over the phone. It’s intriguing, if slow, and looks at plenty of teenage troubles. But the disjointed telling means too much time is taken working out the basics.

It’s impressive that two young leads manage to make the show watchable. Shoko Ito and Hiroki Berrecloth are engaging and ably supported by James Bradwell and Susan Momoko Hingley herself, who play the latter’s brother and mother respectively. All bring out a good deal of tenderness and humour when addressing their characters’ various insecurities and problems – but issues arrive out of the blue and lack subtlety.

The twist, that the women Takao is talking to, Yukari, turns out to be a teacher, is tough to believe. And Yukari’s actions seem oddest of all – drinking in the park while she’s supposed to be at work. The chronology means problems in the school are a puzzle. Aki Nakagawa’s beatific portrayal of her makes her problems pale. The theme of intergenerational friendship is lost.

Maybe it’s better to think about the show in terms of atmosphere. Here, Rutter’s work as a director is better. There are attempts to create a poetic air that reflects the characters’ isolation. The movement is good and the music from Mark Choi is excellent. But problems persist. Cindy Lin’s set ends up fussy, with benches moved around interminably. And the show does not sit well with venue’s thrust stage – in particular, projections of poetry are too brief and too small.

The tone of the piece changes after the interval – what’s going on becomes clearer. But there are still those questions about motivation. We’re told that “all humans are weird” more than once and we can see that’s true. But it isn’t obvious where the observation leads. Such puzzles about Takao’s and Shōko’s feelings might be fine if the production was engrossing, but it all feels pruned rather than profound.

Until 9 September 2023

www.parktheatre.co.uk

Photos by Piers Foley