2023

George Takei’s “Allegiance” at the Charing Cross Theatre 

The legendary George Takei is the star behind this musical and, like many of the cast, he is well worth seeing. The show is inspired by his early life – interned by the US government after Pearl Harbour – and has an important message. The history is interesting but, good intentions aside, attempts to be inspirational are effortful. 

The book, by Marc Acito, Jay Kuo and Lorenzo Thione, is efficient. The family dynamics are depicted well, with three generations of men making good roles for Takei, Masashi Fujimoto and Telly Leung. And there’s an impressive part for Aynrand Ferrer as the only woman in the family. The story is good. The politics is well handled, too, focusing on the oath of allegiance Japanese Americans were asked to swear. The rifts this caused in their community are presented with clarity and passion. 

Telly-Leung-in-Allegiance-Photo-Danny-Kaan
Telly Leung

There’s a big ‘but’, though. Those efforts to inspire are hard work. Kuo’s music could be bolder and his lyrics really plod. There’s a sense that most of the words sung are capitalised, and repetition is presented as if it were an argument. It’s a matter of diminishing returns; lighter moments with perkier numbers and a sweet, if doomed, romance (Megan Gardiner does well here) adding much needed humour are better. A couple of satirical numbers are highlights and give Patrick Munday and Iverson Yabut a chance in the spotlight. But Allegiance wants to be serious, as its subject is, and it wants this very badly. Sentimentality overpowers the dilemma and the show’s sincerity becomes a liability. 

The show is saved by a good production and strong performances. Tara Overfield Wilkinson’s direction and choreography are nimble, while the action is swift and, again, clear. There are plenty of neat touches to movement and Nic Farman’s lighting design is well used. Speed goes some way to distract from earnest moments, but the score insists on big numbers and Wilkinson has to give them time. 

There are no quibbles about the lead actors. We know that 85-year-old Takei has charm – it’s a pleasure to see him on stage – but he also brings a good deal of emotion to his final scene. If the concluding offering of hope seems brief, considering the trauma on stage, there are further fine performances to enjoy. The leads, Leung and Ferrer, breathe life into sluggish lines with great skill. Both are superb, brimming with confidence and sounding great.

Until 8 April 2023

www.charingcrosstheatre.co.uk

Photos by Tristram Kenton &  Danny Kaan

2023

“The Masks of Aphra Behn” at the White Bear Theatre

Claire Louise Amias’ one-woman show about Restoration writer Aphra Behn is a careful mix of period drama and biography. The trick with plays that look at playwrights is to decide how to balance education with entertainment – and Amias tackles her task with determination.

There is a lot of history… but it’s all about Behn. The show is easy on the broader context, so it doesn’t really matter how much you already know. And filling in details is done with humour – a reference to “my friend Nell Gwyn” made me laugh. And apart from writing plays and poetry, Behn had a fascinating life as a spy, which Amiens speculates on brilliantly.

From her early youth and then as a wit in Charles II’s court, Behn takes us on her adventures in Suriname, Antwerp and Venice. It’s all exciting stuff with considerable peril involved – quite simply, a great story. Imagining how a larger cast could work is not a distraction, as Amias takes on extra roles very well, vividly depicting the rogues and plotters Behn meets along the way.

The plot is so strong that it might be said to be a little overpowering. There isn’t much room for how Behn’s life and work interact – apart from her need for money. This is a pressing concern expressed in detail and used for dramatic purposes, but it is hardly a revelation. The masks in the title only play a part at the end, leading to a rushed conclusion. The idea could have added more weight to the show.

Still, Amias gets to show off her acting skills superbly and does justice to a fascinating figure. And she interacts well with her audience: we are the “witty few” at the theatre to see a production of her play The Rover. But, due to the ‘indisposition’ of an actor, we are offered Behn’s story instead – ”for one night only”, of course. She’ll do anything but offer a refund! The atmosphere is intimate, relaxed, and fun, despite Behn’s trials.

Direction from Pradeep Jey helps. The play is understandably static, but there’s plenty of energy and the time flies by. Behn loves scandal and Amias’ eyes light up at gossip. Any danger is balanced with a dry edge (especially when it comes to her mother), which leads to plenty of laughs. It’s all out for entertainment. As such, the show is a success – and deserves the kind of big box office that would have delighted its subject.

Until 13 January 2023 at The White Bear, then visiting The Space, Docklands (17 & 18 February) and The Brook Theatre, Chatham (22 February)

www.amonkeywithcymbols.co.uk

Photo by Greg Goodale

2023

“Six” at the Vaudeville Theatre

A theatrical phenomenon and worldwide hit, this musical by Toby Marlow and Lucy Moss goes from strength to strength. OK, I didn’t see the premiere at the Edinburgh Festival, but I did rave about its take on history and its excellent songs as soon as it got to London. Now, new cast members take on the crowns of Henry VIII’s wives to tell their story in inimitable style.

The show uses our knowledge that the queens were variously divorced and beheaded or died, but imagines them reunited as a pop group. How’s that for an excuse for great songs and a fantastic atmosphere! With modern sensibilities and humour (the lyrics and script are very funny) a mock competition sets the queens against one another.

It isn’t really a contest – that turns out to be an important point. And one of the show’s many joys is to see the ensemble work so well together while pretending to pit themselves against each other. This six are a great group – sharing emotion and, above all, fun. Despite them working in harmony musically, we still get six distinct characters, which is also important: Six is about the women rather than the man they were married to.

In chronological order, there is a lot of praise to bestow. Rhianne-Louise McCaulsky plays the first wife, Catherine of Aragon, and sounds amazing. Baylie Carson takes the part of Anne Boleyn and proves to be the show’s clown, getting a laugh with every line. There’s Jane Seymour’s ballad next, belted out by Claudia Kariukias in fine style. Dionne Ward-Anderson is Anna of Cleves – a commanding role that whips up the crowd. Koko Basigara as Katherine Howard has (arguably) the best number, ‘All You Wanna Do’, which showcases Marlow and Moss’s talents superbly. Finally, Roxanne Couch’s Catherine Parr guides much of the action and sounds superb.

There can be no higher praise than to say this cast does Six justice – the show really is that good. While the direction from Moss and Jamie Armitage is robust, and the choreography from Carrie-Anne Ingrouille strong, the performers bring high energy and strong comedy skills that prove a clear appreciation of the show’s intelligent humour. Six is my go-to recommendation not just for those who love musicals but anyone who likes a good show. Long may these queens reign on the Strand.

Until 29 October 2023

www.sixthemusical.com

Photo by Pamela Raith

2023

“Salt-Water Moon” at the Finborough Theatre

Along with its reputation for revivals, Neil McPherson’s west London venue has a knack for delivering great writing, often from abroad. Any play put on here is a safe bet and this UK première from Canadian writer David French is a great start to 2023.

A sophisticated script underlies the simple romance in Salt-Water Moon. Returning to his home in Newfoundland after a year away, the prodigal Jacob aims to win back his sweetheart, Mary, only a month before her wedding.

The characters drive the drama. Is Mary really as cold and angry as she seems? Bryony Miller’s excellent performance in the role shows the character’s “steel and fire”. And is Jacob genuine or just a “schemer”? Joseph Potter brings charm to the role but preserves a suspicion about the “brazen” Jacob that slowly melts away.

As the couple awaits the return of Mary’s fiancé (a vivid character, despite never setting foot on stage), French gives us far more than the suggested scenario of “a wolf and a lamb”, making this a romance we want to be rekindled. As the odds against the couple mount, so does the audience’s emotional involvement.

Motives for both characters are carefully revealed as they journey towards the truth so that the play has suspense despite a lack of action. Peter Kavanagh’s impeccable direction is suitably restrained and the minimal yet stylish set by Mim Houghton is similarly appropriate.

It is the confidence in French’s writing that stands out. Many a historical drama could benefit from such a sure hand – one that doesn’t feel the need for extraneous detail. Likewise, the sense of a real community – still dealing with the aftermath of World War I and full of inequality – shows us the lived experience of its characters with no sniff of a history lesson. This is impressive writing: Salt-Water Moon is a quality show through and through with a strong script skilfully produced.

Until 28 January 2023

www.finboroughtheatre.com

Photo by Lucy Hayes

2022

“The Burnt City” from Punchdrunk

Nobody does immersive theatre like Punchdrunk. Frankly, the company puts many others using the term to shame. Working from their new home in Woolwich, the latest show from directors Felix Barrett and Maxine Doyle has been one of the theatrical highlights of 2022. It’s kind of impossible to write about it… which is one of the things that makes it so great.

It’s been a long time since Punchdrunk’s previous large-scale show, The Drowned Man, wowed audiences. This time the source material is better known – it’s the Trojan War. The scale is huge: you can wander around Troy and the Greek camp, see the battleground and the Underworld. Or not… Remember, each experience is individual; you visit at your own pace and explore what you want, so following the story isn’t as important as the overall experience.

What you are guaranteed is some fantastic dancing; the choreography by Doyle and the performances are excellent. Some of the gymnastics are astonishing given how close the audience can get to the action. And the acting is fantastic (note, not a word is spoken). Much of The Burnt City is disturbing, it’s about a war after all. And it is also creepy. There are lots of ghosts as well as gods. And characters don’t quite seem to die… hang around if you think a ‘scene’ has ended.

The famous theatrical masks that are a Punchdrunk trademark are still used. They are key, transforming the crowd into a character. With your vision impaired, it’s a unique way to feel yourself part of an audience and anonymous. But the masks are also uncomfortable. It can’t be described as a pain to see something this phenomenal… but a word of warning, it’s good to be nimble and the experience can be overwhelming. The lighting, also designed by Barrett, with F9 and Ben Donoghue is key. It is predominantly dark, to add to your trepidation, but how attention is guided by spotlighting is eerie.

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There is a temptation, and an invitation, to follow a particular character but that can be a challenge. One-on-one encounters are very much in evidence, with audience members plucked from the group right from the start. It’s brilliantly done (and it’s a top tip not to get hung up about staying with whoever you went with) but I’m not sure I’d want to be singled out – all the encounters are singularly intense, and the show often borders on the uncanny and discomforting.

The enormous venue is a cleverly designed maze – the work of Barrett, Livi Vaughan and Beatrice Minns is awe inspiring. The details are astonishing and, yes, you can pick things up but put them back where you found them. There is the feel of a nightmarish funfair (actually, there is a funfair included!) and a heartrending sense of people displaced. The show can’t be said to focus – that’s down to the audience – but it is notable that civilians and women play a big part in this interpretation of the story.

One suggestion – a museum set up at the start is a pointer. Like the pots on display, the myths (and action) in The Burnt City are on repeat. Akin to characters in an illustration, they are atemporal. That might be another reason the characters don’t quite die, and I certainly lost track of time during my visit. It is all, frankly, disorientating. While following even one story is part of the fun, I’m not sure it’s possible without a lot of visits. Although plenty of trips would be no bad thing.

www.onecartridgeplace.com

Promotional photos by Julian Abrams

2022

“To Kill a Mockingbird” at the Gielgud Theatre

It’s easy to understand why this new play from Aaron Sorkin, based on Harper Lee’s seminal novel, is a hit. A hard-hitting courtroom drama about racism in the American south, it’s a serious play that is important but also approachable. There is a lot of traumatic content that’s difficult to watch and hear, but somehow the overall message is hopeful. In director Bartlett Sher’s production, we are all on side and all outraged.

The star role of Atticus Finch is currently played by Matthew Modine. As the lawyer who defends African American Tom Robinson, who is accused of rape, it’s a tough role. Finch is so obviously heroic, his optimism so central to the play’s theme, that he might be unbelievable. But Modine makes an admirable Atticus – the character’s eccentricities humanise him. The pressure he’s put under by his small community is balanced by those who support him.

To-Kill-A-Mockingbird-Jude-Owusu
Jude Owusu

Importantly, Modine doesn’t steal the show. For a play about race, a lot rests on two African American characters. It’s a struggle (the source material shows its age), but Sorkin’s writing develops the roles and Sher ensures they are given space and time in the show. Jude Owusu gives a fantastic performance as Robinson, bringing out every moment of the character’s autonomy. And Cecilia Noble’s Calpurnia brings touches of humour and cynicism that save the tricky role of the family maid.

As for the villains – yes, they are awful, and the play doesn’t hold back. When highlighting the problems faced by Mayella, who accuses Robinson of rape, Atticus becomes ruthless, telling us we can feel pity for the abused girl after the trial. There’s a further excellent performance here from Rebecca Hayes as Mayella. The young girl’s desperate existence is balanced with the racism she spouts. The scene of her parroting her father’s demented reasoning is distressing and powerful.

Stunning, magnificent, and rare

To-Kill-A-Mockingbird-Anna-Munden,-Sam-Mitchell-and-Ellis-Howard

Most of us know that justice (and common sense) do not prevail in To Kill a Mockingbird. But, despite the book being known to most of the audience, there is still a sense of suspense. Immersion into the – thankfully distant – world of the 1930s is achieved through Sorkin’s clever emphasis on young narrators so that we can share their sense of confusion and incredulity. Taking the roles of tomboyish Scout, her brother Jem and their friend Dill, Anna Munden, Sam Mitchell and Ellis Howard end up leading the show.

The trio of friends report on what went on during the trial and subsequent dramatic events. They inject a surprising amount of humour as well as excitement as their childish antics endear. The play becomes a coming-of-age story that combines the wonder of youth with the disappointments that surround growing up. Mitchell, in particular, gets to shine in an admirable study of a father and son relationship. The excitement of “stunning, magnificent and rare” holiday adventures combines with fear and frustration, which makes the kids’ description of their summer appropriate to the show itself.

Until 1 April 2022

www.tokillamockingbird.co.uk

Photos by Marc Brenner

2022

“Newsies” at the Wembley Park Theatre

While current industrial action makes this story of striking newspaper boys in 1899 New York strangely topical, the show is a traditional affair. Based on the 1992 Disney film, the standard is high and its success in the States is understandable. If Harvey Fierstein’s book and Jack Feldman’s lyrics are disappointingly simplistic, Alan Menken’s score is forceful and director Matt Cole’s choreography strong. This is a family show with wide appeal.

Newsies is very ‘Broadway’, which makes this long-awaited UK premier in Wembley a little odd. The theatre itself is a barn of a place lacking atmosphere, but it suits the dance heavy piece in terms of spaciousness. A lot of effort is made to get the cast running around the cavernous hall. Going amongst the crowd is a small part of the energy expanded – there’s a lot of gymnastics that cannot fail to impress.

Do all the somersaults and splits get a little boring? There really are a lot of them. That said, the tap-dancing number that opens the second act, along with swinging from the lights, is superb. Likewise, the rousing score is effective… but a touch monotone. This is a long show – they want you to get your money’s worth, and that wish is achieved. The question is whether the time could be better spent on other things? Yes, you’ve guessed it, the characters in Newsies are paper thin.

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Michael Ahomka Lindsay

The notable exception is Jack, who leads the show and the union that takes action against newspaper baron Joseph Pulitzer. It’s a great role for Michael Ahomka-Lindsay, who powers the whole production with a great voice and commanding presence. But Jack’s sidekicks, Crutchie and Davey (he’s the brains) are horribly slim: performers, Matthew Duckett and Ryan Kopel, do their best but the roles are uncomfortably one-dimensional. The ensemble nods at other characters but there’s little besides hearing lots of names. And everyone is hampered by a New Yeurk accent.

The grown-ups are baddies (and poor villains at that, despite Cameron Blakely’s spirited performance) or underused (Moya Angela’s Medda needs to be on the stage more). A brief appearance by Theodore Roosevelt is the show’s only surprise – who would have thought a politician would save the day? But the biggest disappointment is the plucky female reporter who, sigh, becomes Jack’s love interest. Bronté Barbé gives the role a good shot but wastes her big number (which is one of the more interesting) and, despite a big voice, ends up a small character.

Newsies is fantastically naive. And very sentimental. Think Les Mis with optimism. None of this is bad, but the show does takes itself very seriously. The rousing score fits with this. But falling for the happy ending is a tough sell. Praising the potential of youth is hardly a scoop, and achievements come too easy in the swift story, so they fail to teach much. This may sound like a grumpy appraisal but, for all the scale here (of venue, cast, energy and the sound), the show is slight. The headlines are good, but the story itself isn’t worthy of many column inches.

Until 16 April 2023

www.newsiesthemusical.co.uk

Photo by Johan Persson

2022

“Sons of the Prophet” at the Hampstead Theatre

There is a Christmas tree in Stephen Karam’s play, which makes it seasonal in a way, but this smart, dark comedy is good all year round. The challenging humour is combined with deep emotions. And in a show that’s all about suffering, the treatment is remarkably light. What’s special is Karam’s distinctive voice. The writing – evidently respected in director Bijan Sheibani’s faultless production – is a unique joy.

The play follows a bad year for Joseph, a fantastic role for Irfan Shamji, who is tremendous. Joseph’s father has died in a freakish accident, his uncle is ill, and his own health is a worry. So much pain… so how come so much of the play is funny? Karam depicts a Maronite family in rural Pennsylvania (reflecting his own background), stressing their averageness. While problems could overwhelm (they touch on the subjects of religion, immigration and health care), humour rises above every issue. Shamji is the foundation for the play; his dead-pan responses to a whole lot of rubbish he hears hit home every time.

Jack Holden as Timothy in Sons of the Prophet credit Marc Brenner
Jack Holden

Joseph isn’t alone. The play provides him with a wonderfully written sassy sibling (a role Eric Sirakian excels in). Their relationship is, simply, beautiful. They squabble as much as support each other, working through worries and grief together. But Joseph does have to put up with a quartet of characters, superbly characterised and performed, who pain him. Vin, the young man responsible for his father’s death, needs help with the apology a court is making him write! Raphael Akuwudike makes the character a figure of sympathy and endearing awkwardness. Closer to home are a prejudiced uncle (Raad Rawi) and an arrogant journalist (Jack Holden). Both excellent performances steer clear of caricature. Best of all is Joseph’s boss, a “wealthy, deranged” New Yorker publisher who is also grieving… and funny with it. The latter is a role that the excellent Juliet Cowan makes her own, taking us to the heart of Karam’s humour.

Juliet-Cowan-&-Raad-Rawi-in-Sons-of-the-Prophet_credit-Marc-Brenner
Juliet Cowan and Raad Rawi

All the characters say things they really shouldn’t. Frequently selfish, crass and embarrassing, it’s not a surprise they are funny. But note, while Karam’s satire is sharp – Joseph doesn’t suffers fools gladly even if he does suffer – there’s no toe-curling here. Cowan spouts her character’s nonsense particularly well. But, as with the other roles, there are snatches of wisdom, too. And there’s little malice. Above all, everyone’s pain is real. Suffering turns out to be a leveller. Karam may keep us laughing at unexpected moments, but his play has real soul.

Don’t make the mistake of thinking Joseph is a stoic – his frustration is palpable. The play’s title nods to Khalil Gibran, a distant relation of the family that makes Gloria sniff a book deal! But Joseph thinks Gibran is too easy. While the play has scenes with projected titles as in Gibran’s The Prophet, I suspect the Philosopher Poet is a tad declamatory a teacher for Karam’s taste. The reversal of pain to joy and the dictum “all is well” don’t convince. Given what’s going on, why should they? And yet Sons of the Prophet suggests that with honesty and warmth it is possible that we might “hurt less”. I’ll take it.

Until 14 January 2023

www.hampsteadtheatre.com

Photos by Marc Brenner

2022

“Kerry Jackson” at the National Theatre

If you are already tired of seasonal fare – there’s a lot of Christmas carolling going on in theatreland at the moment – this clever class comedy is a gift. With no Santa in sight, it’s a smart play from April De Angelis – and briskly directed by Indhu Rubasingham – that’s full of good jokes.

The titular heroine is a new restaurant owner and fine comic creation that makes a cracking part for Fay Ripley. Initially presented as a working-class cliché, Kerry overshares outrageously, and her every view is politically incorrect. And Kerry can be clueless – she’s called the business El Barco and put a mural of a shipwreck on the wall. You almost feel bad for laughing… but laugh you will. How much can we admire determination based on delusions?

The location is gentrified Walthamstow Village – cue class conflict – where local philosophy teacher Stephen and his Gen-Z daughter (skilfully performed by Michael Gould and Kitty Hawthorne) live. De Angelis is just as sharp about these hand-wringing liberals and the result just as funny. Since they are grieving for their wife and mother, there’s more sympathy, cleverly nurtured. But Kerry’s gaffs, delivered brilliantly by Ripley, are just all the more cringeworthy.

A homeless man called Will and Kerry’s talented chef, Athena, bring problems that connect to class and introduce topical ‘issues’ to the play. This is a piece obsessed with privilege… which can prove tiresome. Will’s objectional politics and Athena’s immigration status should give other characters pause for thought. The suggestion is that politics, both left and right, can’t deal with these real-life problems. Credit comes from dealing with the topics in depth, and creating two more great roles that Madeline Appiah and Michael Fox excel in. Yet it seems impossible for playwrights to introduce ‘privilege’ without seeming to lecture. And, in this play, that really stands out.

It’s Kerry who counts and, to De Angelis’ credit, she is an unusual figure to see take centre stage. It’s not as if a lot of sense is talked, and Kerry’s romances are improbable (there’s another love interest for her – an uncomfortable role that Gavin Spokes does well with). Furthermore, Kerry has a very nasty side. It’s a further tribute to Ripley that the character rides through a disappointing tirade. Again, Angelis is even handed – there’s a comeuppance for Stephen and a softer approach to the younger generation that shows a generous spirit. Kerry Jackson does tick boxes but is specific enough to convince (the detail is great). There’s plenty to digest, not least when it comes to Kerry’s tiramisu. And it gets a lot of laughs along the way.

Until 28 January 2022

www.nationaltheatre.org.uk

Photos by Marc Brenner

2022

“Orlando” at the Garrick Theatre

The star casting of Emma Corrin should, quite rightly, attract an audience to this new play based on Virginia Woolf’s classic novel. Corrin wears their heart on a variety of gorgeous sleeves while addressing deep questions about the identity of the gender-swapping century-traversing character lightly. “Who am I?” interests as much as torments this iconic figure, and Corrin is as energetic as emotional.

For all Corrin’s achievement, it is playwright Neil Bartlett who impresses me most by producing a piece that gives us Woolf’s work… and so much more. Starting with the Elizabethans, Bartlett brings in Shakespeare (from the sonnets to Hamlet to The Merchant of Venice), Woolf, of course, but also a nod to Chekhov, touches of bawdy and even some Kander and Ebb. It’s all tremendously clever and fun. The script is as witty as it is intelligent, as approachable as it is erudite.

Emma-Corrin-and-Deborah-Findlay-in-Orlando-photo-by-Marc-Brenner
Emma Corrin and Deborah Findlay

The playful and mind-bending in Woolf’s novel is made to fit on stage marvellously. Michael Grandage’s superb direction takes every chance to enforce theatricality and the result is engaging throughout what feels like a very brief 90 minutes. The pace is startling, yet observations on history and prejudice are clear. The action is guided by the brilliant Deborah Findlay, who plays Orlando’s equally long-lived maid and gets some of the best gags. The sparse staging uses Peter McKintosh’s superb costumes to take us through time and show transformations in simple, effective style.

Orlando-company-photo-by-Marc-Brenner

Bartlett’s Orlando is also about Virginia Woolf. The author isn’t just a character – she is a chorus, with nine performers donning comfy cardis and specs. What would be the collective noun for that? Surely not a pack of Woolfs? The show has too much generosity for that…a Bloomsbury of Woolfs? No, a room of Virginias! The group take us through the writing of the novel, remind us of Woolf’s lectures, while Bartlett’s script shows her as an inspiration. How the work affected Woolf’s life, as well as some of her own story, is interwoven in a moving fashion. And the cast takes on a variety of other roles – different ages and genders again – providing moments in the spotlight for Lucy Briers as Elizabeth I and Millicent Wong as an 18th-century sex worker.

Fluidity is all, and Grandage appreciates that theatre can explore this particularly well. And there’s more. Orlando lives for centuries, but the search for love is always relevant. The show isn’t just contemporary in addressing “Ladies and Gentleman and Everyone”. Constraints imposed by others versus definitions claimed by oneself are examined… and exploded. Background plays a part, with a topical concern for ‘authenticity’ that seems appropriate for a piece so big: Corrin is a star very much of the moment and clearly revels in the radical ideas here. Bartlett presents fluidity on the West End stage with an unapologetic touch that is gleeful. The show becomes an optimistic celebration. Like conditions for women, a recurring theme given its due, things are getting better. All that history has a point, it’s leading somewhere. What is Orlando’s favourite time? It’s now!

Until 26 February 2022

www.michaelgrandagecompany.com

Photos by Marc Brenner