2023

“Jeffrey Bernard is Unwell” at the Coach and Horses

As sites for shows go this one is a scoop. Seeing Keith Waterhouse’s play about journalist Jeffrey Bernard in the pub he frequented adds immeasurably to this fine production, directed and adapted by James Hillier. Soho is almost a character in the play – after Bernard moved there, he said he “never looked forward” – and joining him for a lock-in at such a historic location is a thrill.

Of course, a pub isn’t the perfect performance space. Hillier and his company, Defibrillator, have experience that proves essential. Robert Bathurst takes the role and holds court– talk about art imitating life – basking in the attention and the atmosphere. The odd drunk outside could almost have been planned, it fits the night so well.

The feeling is intimate, which suits the piece’s elegiac tone. Afterall, the “unwell” of the title is an understatement, and these reminiscences focus on mortality. Bernard’s addictions to alcohol and gambling took their toll, and his self-awareness is admirable, but also sad. The production is careful not to glamourise. Bathurst’s performance, almost nervous at first, reflects his character’s disappointments and brave face.  

None of which is to say that the Bernard depicted here is a maudlin drunk or as unpleasant as his stories suggest. Despite all the vodka downed, his spirit is unreformed – this show is fun. The jokes are well-written, a trick is brilliantly executed, and Bathurst’s delivery is impeccable. The characters we hear about lead to wicked impersonations. But, above all, it’s the jokes that Bernard makes at his own expense that saves him in our eyes. He may have been a bad gambler, but it’s an easy tip to recommend this show. Odds on, you’ll love it.

Monday–Wednesday until 20 November 2023

www.jeffreyplay.com

Photo by Tom Howard

2023

“The Flea” at the Yard Theatre

The Cleveland Street scandal of 1889 concerned a male brothel in Fitzrovia, and the characters in this play either worked or visited there or investigated it. But, playwright James Fritz aims for a very different kind of historical drama and is open about not always following facts. Both its look, and bold direction from Jay Miller, provide originality for the production. Yet just as good, beneath the style, there’s fine storytelling and an intelligent engagement with history.

In this tale about the exploitation and persecution of gay men, the smartest move is to focus it on a woman – the mother of one of the boys who prostituted themselves. Doing an excellent job, Norah Lopez Holden plays Emily Swinscow, serving as our narrator and reminding us that this is an unpleasant story about desperate people forced into sex work. A lot about the production is cool, but this mother’s care for her son provides warm emotion.

The five-strong cast all take on more than one role and much of the casting stimulates through its sharp eye on class distinctions. To take the most obvious example, Lopez Holden also makes an appearance as Queen Victoria, showing how the scandal reached the highest levels of society. But note, Victoria shares Swinscow’s concerns for family. The monarch tries to make a deal with God to protect her grandson, even though it is the wrong thing to do.

Yes, God… they makes an appearance in the play, too. And let’s just say that Victoria gets very excited about the chat. Scott Karim does a divine job in the role, and it isn’t The Flea’s only crazy moment. Showing great skill, Connor Finch, Séamus McLean Ross and Sonny Poon Tip all join in the fast-paced, often comic, action. Miller makes sure it’s always clear what is going on. And there’s also considerable sympathy for all involved.

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Sonny Poon Tip and Séamus McLean Ross

It’s going too far to say that Fritz shows sentimentality, but he has an eye on this most Victorian of traits. Finch makes a superb stage debut, movingly depicting two very different figures, while Poon Tip’s turn as one of the aristocrats drawn into trouble proves powerful. The play is harsh to those in charge and their agendas. Again, Karim excels as police Inspector Abberline, while McLean Ross’s nightmarish Prince of Wales is a marvel. But The Flea doesn’t blame. Highlighting compromises, some horrid, that characters make because of historical circumstances is a mature response to the period.

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Séamus McLean Ross and Connor Finch

To save the best until last, it’s a pleasure to highlight a costume designer – Lambdog1066. What performers wear often only comes into focus if something is incongruous. Here, it’s all wrong! And brilliant as a result. The invention is fantastic (and so is the construction of the clothes themselves). The designs bear in mind the different roles to be played, with ruched sleeves joined to uniforms, or bolero and biker jackets looking both scruffy and smart. All sorts of materials are used – rags, carpets, even pottery. They do look crazed, but they help to tell the story. This aesthetic aids the aims of the play brilliantly and shares its intelligent originality.

Until 2 December 2023

www.theyardtheatre.co.uk

Photos by Marc Brenner

2023

“Influence” at Collective Theatre

Waiting for this new play from Stockroom to start is more interesting than usual – the audience are invited to pop their secrets on a postcard. It’s clear the revelations are going to play some part in what comes next – a performance that seems like a magic show that everyone gets involved with.

The framework is a magician telling the story of his family, a grandfather who trod the musical hall boards and a Harry Potter-loving nephew who died tragically young. Of course, the stakes are raised – there’s going to be a dangerous stunt never performed before! And more audience participation than I’ve ever seen – nearly half the crowd end up doing something or other.

Put together, the storytelling and magic make a great showcase for Kit Young. Along with ‘dad jokes’ and generally strong comedy skills, Young balances a convivial air with sinister touches. As for the tricks, many deliberately old fashioned, even hammy, they are perfectly delivered and very entertaining. Consultant Scott Penrose deserves a lot of credit for the work here, but Young really is magic, a natural showman with plenty of charisma.

Young is playing a part too, of course…when it comes to sleights of hand – you might forget this is a play with clever writers behind it: Georgia Crowther, Chris York and Maheni Arthur worked together as part of Stockroom’s writers room. References to Chekhov intrigue, while bringing out a parallel between the conjurer’s art and contemporary social media is interesting, if a touch strained. What really impresses is how details shape our perception – the odd fact is mixed in with a lot of misdirection. It’s great to try and spot, and fun when you fail to.

Under director James Hillier’s careful hand, the finale is terrific. Far too good to spoil – even if that means some credit can’t be given where it’s due. Not one but two twists arrive… and quickly! Set up by this talented team, our expectations, especially regarding all that participation, are used against us and we see how much influence they have had: the play makes its point and is a lot of fun along the way.

Until 2 December 2023

www.collectivetheatre.co.uk

Photo by Hanna Kovacs

2023

“Clyde’s” at the Donmar Warehouse

Hope is the takeaway from playwright Lynn Nottage’s diner-based drama. The ex-convicts who are employed by the owner of the restaurant that takes her name know they’ve made mistakes and won’t find work elsewhere. But they still have aspirations – to make the perfect sandwich. It doesn’t sound like a lot, but Nottage and this five-star production make it a fulfilling menu.

Nottage often writes about the world of work – about trades unions in Sweat or the rag trade in Intimate Apparel. But while the setting is America, evoked with great skill, the concerns she raises are global: expectations, exploitation and the gig economy. A sense of pride in work is made palpable. To show the importance of the cuisine, the lighting and movement are invaluable, with credit to Oliver Fenwick and Kane Husbands respectively. It’s important we take these sandwiches seriously!

To really make sure we care, it’s Nottage’s larger than life but credible characters that power her drama so effectively. You root for each in a variety of ways. Director Lynette Linton and her cast present a surprising collection of heroes to perfection.

The lead role, of sorts, is Clyde, a monstrous creation performed by Gbemisola Ikumelo, who is mesmerising. Despite being the boss from hell, Clyde’s difficult life and her problems make her intriguing as well as repulsive. She’s filled with hate – the question is why. Her counterpart is the Buddha-like Montrellous portrayed by Giles Terera with suitable mystery and charisma. For all the calm, it turns out his backstory is just as dramatic.

Montrellous inspires his three fellow chefs, acting as a mentor. And he can teach us all a thing or two. These younger characters adore him in heartwarming fashion while, of course, having their own problems. The dynamics between them prove engrossing. A potential love affair between characters exquisitely portrayed by Sebastian Orozco and Ronkẹ Adékọluẹ́jọ́ adds romance, while an unrecognisable Patrick Gibson has a stunning role as former gang member Jason.

There is nothing laboured about Nottage’s dialogue or, indeed, its delivery. While the problems faced are heavy, the humour is light – Clyde’s is a very funny play. Many playwrights can show their wit and create characters a little too amusing to believe. But the humour here feels effortless and flows naturally. Chef’s kisses for this great work.

Until 2 December 2023

www.donmarwarehouse.com

2023

“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

2023

“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.

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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.

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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

2023

“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

2023

“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

2023

“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

2023

“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