2022

“Here” at the Southwark Playhouse

Clive Judd’s Papatango New Writing Prize-winning play bravely tries an audience’s patience. A thoughtful look at grief, and a novel kind of ghost story, the play’s tight focus and slow pace show confidence. That the domestic drama we spend time with doesn’t quite justify two hours is not all Judd’s fault.

The design by Jasmine Swan is disastrous. A gauze veil that stands for the walls of the room the play is set in proves hugely frustrating. What little the set achieves in spooky moments (thanks, really, to Bethany Gupwell’s strong lighting) cannot make up for being able to see so, so little throughout the show. It is a terrible idea.

Sympathetic direction by George Turvey and fine performances by a talented cast sustain a first hour as we get to meet Jess, her parents Monica and Jeff, and prodigal cousin Matt, returning for the first time since his grandfather’s death. Grieving is the theme, handled with sensitivity and intelligence. It takes a while to work out how much the family has fallen apart without this (too shadowy) paterfamilias.

“Lives before lives”

There’s a quiet tension and touches of humour that impress. Although the younger characters are better written, Judd handles all oddities calmly; there are plenty of frustrations as the shopping is put away. It’s all well observed, although little happens. The skill comes with revealing how deep the characters’ problems are. The growing sense of complex lives and their history is well played out.

The fulsome roles are made the most of. Lucy Benjamin and Mark Frost play the older characters with gusto. Their daughter on stage is the better role and Hannah Millward shows a flexibility that is to her credit. Sam Baker-Jones adds intrigue to his guileless character of Matt. Matt’s interest in sound recordings and hope that they might reveal voices of the dead doesn’t end up sinister – no small achievement.

Safety is the key. The Gen-Z angst that Judd skilfully details is handled sensitively. It’s interesting to hear Jess’s take on being “edgy”. And how what she and her cousin crave is security. As if to answer his characters, Judd becomes reassuring. Here is an original take on a ghost story, but don’t expect to be spooked. The play doesn’t grip – I’m not sure it is trying to – but could still prove memorable.

Until 3 December 2022

www.southwarkplayhouse.co.uk

Photo by The Other Richard

2022

“Marvellous” at the Soho Place Theatre

For the opening of the first purpose-built theatre in London for 50 years, a production from the New Vic Theatre in Newcastle-under-Lyme, is sweet. Unfortunately, Marvellous does not live up to a title that tempts fate.

Yet Marvellous has many admirable qualities. Like its subject (and one of its writers), Neil Baldwin, the show is all about feeling good. An eccentric character who did not let any label stand in his way, Baldwin is an inspirational figure. And although it’s based on a film, director Theresa Heskins tries to make the show as theatrical as possible. Well done.

The New Vic is in the round – just like this new swanky venue. I suspect that made the transfer seem like a good idea and Heskins handles the format expertly. But an easy fit doesn’t make up for the show’s failings or even play to its strengths. The latter first. While Baldwin was a true local hero (and mascot for the football club), a lot of information about the Potteries is taken for granted. The detail would go down great where the show comes from, but the jokes (and the nostalgia) need tweaking for a wider audience.

As for failings – well, maybe that’s a bit harsh. There’s nothing wrong with Marvellous… but it is long. And it’s too clear that an easy edit would improve the show considerably.

The performances are good, especially Suzanne Ahmet who plays (mostly) Neil’s mother, and Gareth Cassidy who shows off a lot of accents. The cast nearly all take on the role of Neil through his life so there are lots of jokes about performance and the acting craft. And they are joined by a ‘Real Neil’ (Perry Moore did a great job the night I saw the show), whose naivety adds to this source of fun. Everyone is hard working, with slapstick and physical comedy thrown in.

The problem is that every joke is repeated.

It’s sweet that Neil has a ‘magic’ shopping bag that props appear from, that the cast pretend to be cupboards, or that local radio presenters who comment on the footie are impersonated. But we don’t need these jokes in triplicate. While the story is fun and Neil Baldwin winning, it does go on… and on. The ideas on inclusion and community can’t be argued with. But the delivery is laboured and the message ends up heavy handed.

Until 26 November 2022

www.sohoplace.org

2022

“Cyanide at 5” at the King’s Head Theatre

Tom Stoppard fans might venture out to this clever two-hander to see how the playwright Pavel Kohout influenced his work. But the piece deserves a larger audience, as its excellent script debates art and history – and the interaction between the two – with economy and emotional power.

The scenario is simple – an ‘I’m your biggest fan’ kind of visit to a wealthy novelist. There’s suspense, as it’s clear the intense Irene isn’t simply nervous about meeting an author, while the urbane writer Zofia has something to hide. Peter Kavanagh’s tense direction (aided by some classy lighting) has touches of Hitchcock of Highsmith. What’s not to like already?

The power play between the two women is exciting. These are meaty roles that Lise-Ann McLaughlin and Philippa Heimann clearly relish. I’m not sure Irene needs such a strong accent (she has spent most of her life in the UK), but the delivery is good. And Zofia’s frailty doesn’t quite convince, despite an excellent performance from McLaughlin. But this is solid work on characters that could be defined solely by issues, and both performers make them full of life with a palpable sense of their histories. There are also great twists for both, as Kohout plays with who we feel sorry for, or admire, more.

“A voice to her scream”

So, lots to praise. But neither the craftsmanship nor the production’s strengths form the best part of Cyanide at 5! The real satisfaction comes from an intelligent script with a surprisingly light examination of the role of art, alongside a powerful insight into the history of the Holocaust. Kohout isn’t intimidated by either big topic. Zofia defends her book’s profitability because she gave a voice to a victim – but most of her defence is less lyrical. The big concern is authenticity. Yet we’re asked to think about the publishing industry and celebrity alongside how books affect their readers.

As for the power of art, Zofia’s book – and its questioned status as fiction – comes into dramatic conflict with real life. Irene was a refugee, smuggled out of wartime Poland. Zofia has become rich but has lost a lot. Irene’s dangerous anger is overpowering… is it fair? And how well does Zofia’s justification for her carefully revealed actions work? Kohout’s open-ended conclusion is fitting, given the sophistication of emotions and arguments presented.

Until 26 November 2022

www.kingsheadtheatre.com

Photo by Tara Kelly

2022

“Mouthful of Fingers” at the Bridge House Theatre 

Post-apocalyptic scenarios are periodically popular in theatre but a genre with plenty of clichés can prove tricky to make your own. Playwright Andrew Mapperley adds elements of horror and fairy tale to his sketch of “lovers at the end of the world” that show originality. The play doesn’t lack ambition and is sure to hold your interest. 

 The world created is unsettling but too confusing. Detail may not interest Mapperley but an audience tends to like some, or at least, trying to work out what catastrophe has happened can be a distraction. The make-up and costumes here don’t help – there is a lot of oddity for its own sake. 

 At a guess, Chekhov is an influence – the family members we meet are all waiting and longing for something. And J.B. Priestley:  there’s a lot about reality and time as well as a kind of Inspector – a spooky role that Caitlin Lee Smith does well with. More importantly, Mapperley uses whatever inspiration to his own ends presenting a distinctive, if unrestrained, set of concerns. 

The language is stilted and elaborate with a biblical feel; none of this is to every taste, a lot of it is clunky, but the mix shows courage. The cast make the dialogue work and give performances to be proud of. Joseph Wood has the very difficult role of the family grandfather which he performs with confidence and conviction. Mapperley, Kat Stidston and Giulia Hallworth play three siblings with plenty of problems; the latter, with her tenuous grip on reality, proves far the most memorable. 

Much of the imagery is powerful and touches on the play’s biggest strength…but also weakness – the sheer amount of neurosis in Mouthful of Fingers. The end of the world and radiation are not these guys biggest problems! There are macabre stories and dreams that would delight an analyst, enough OCD to go around with sexual frustration and hemophobia for good measure. Questions of history and inheritance are also thrown in. Credit for cramming – a lot of the anxiety hits home and the atmosphere is suitably tense – but the play is overloaded. And characters come too close to being defined by their ailments. 

Elisabetha Gruener’s direction is firm and restrained – clearly appreciating the play needs no further histrionics. But it’s still a puzzle. The age and fate of Volvo, a role played tenderly by Rens Tesink, is problematic. Many of the stories started don’t have an ending, a bold idea but one most listeners find frustrating. Riddles can be intriguing – and dramatically effective – but it doesn’t hurt to help an audience out a little.

Until 12 November 2022 

www.thebridgehousetheatre.co.uk 

Photo by Hayley and Kyle Madden

2022

“Cabaret” at the Kit Kat Club

Still a hot – and pricey – ticket since opening last December, Rebecca Frecknall’s production of John Kander and Fred Ebb’s musical is now on its third set of leading performers. And it has seven Olivier Awards to boast about. There’s a special thrill about seeing a hit – and a sense of success fills the air of the refurbished Playhouse Theatre. This one’s getting better and better.

As for the awards, Frecknall is a deserving recipient for directing such a bold show. But I’m a little surprised choreographer Julia Cheng didn’t get an accolade: her work adds tremendous interest and, with the ensemble at work before the show and during the interval, is a big part of making the evening special. Likewise, the design from Tom Scutt, whose set makes the interior lush while the costumes aid the performers, could easily have picked up a trophy.

It was the performers who gained most of the gongs, so a change of cast could be tricky for the production. But never fear. Taking the roles of Emcee and Sally Bowles are exciting young stars Callum Scott Howells and Madeline Brewer. Sid Sagar brings plenty of intensity to Clifford Bradshaw, while Vivien Parry and Richard Katz play the story’s older romance with sweet and melancholic touches.

Just as important as the famous characters, the whole ensemble have the confidence to support the leads and shine in their own right. There are a lot of eye-catching moves and humour from the Kit Kat Club’s performers. Everyone is given a moment in the spotlight and grabs it, but they work together wonderfully, particularly bringing Cheng’s dance – both gritty and otherworldly – to life.

The show has grown in humour. This was my only reservation from an initial visit. There’s more fun at the start. The number, Two Ladies, is a lot ruder! And there’s a looseness to the performances that works well. Scott Howells seems particularly relaxed and his Emcee is really enjoying himself. It’s not just a question of more fun for all. Less tension at first makes the drama to come more powerful. Cabaret was great to begin with and has now found its feet to becomes something even more special.

www.kitkat.club

Photos by Marc Brenner

2022

“From Here to Eternity” at the Charing Cross Theatre

This first London revival of the musical by Stuart Brayson and Tim Rice has admirable qualities but unfortunately highlights some of the show’s shortcomings. It’s set on the eve of Pearl Harbour, where the love lives of bored soldiers, more interested in boxing than war, is a little too much like a soap opera. The book, by Donald Rice and Bill Oakes, is impressively adult but rushes the action. And the production, directed by Brett Smock, follows suit, splurging on plot and leaving little time for emotion.

The music might not be the most memorable, but Brayson’s songs are good and the score coherent. The new orchestration from Nick J Barstow is bold. And the performances are enjoyable. But the effort to inject energy is too transparent. There’s a lot of soldiers running around and far too much moving the boxes that make up a big part of Stewart J Charlesworth’s design. Scenes feel truncated – snapshots of army life – and are occasionally confusing.

Nervous rather than macho is the atmosphere. The show has something to say about masculinity and war, but gives us little time to think. The roles of Warden and Prewitt are interesting and Adam Rhys-Charles and Jonathon Bentley, who take the roles, sound great, though neither holds attention for long. We are on to another scene too quickly, too often. The build-up to the bombing, clearly designed to provide structure and tension, is overworked and underdelivers.

Jonny-Amies-(Maggio)-Photo-Mark-Senior
Jonny Amies as Maggio photographed by Mark Senior

The cast has plenty of young talent to enjoy and they acquit themselves well. There is a sense of life in the barracks that is tense if not particularly detailed. Jonny Amies as Maggio, “the Joker of the pack”, is smart not to force the show’s attempts at humour and ends up a moving figure. But more experienced performers do shine. Alan Turkington makes the role of the cuckolded Captain work. And Eve Polycarpou, who plays the show’s brothel owner, makes her number (not the strongest) stand out.

The women in the piece – despite being outnumbered – are the highlight. There are strong performances from Carley Stenson and Desmonda Cathabel as the love interests, who inject some much-needed pathos. The songs are sometimes hampered by the lyrics – serviceable yet uninspired – but the delivery is good. The singing gets better and better. But there’s still the problem of just too much going on that feels rushed through or episodic. Storylines have to be resolved even quicker than they were set up. This leaves a poor impression of good show.

Until 17 December 2022

www.charingcrosstheatre.co.uk

Photo by Alex Brenner

2022

“Evening Conversations” at the Soho Theatre

Writer and performer Sudha Bhuchar’s new piece is like a cosy chat, maybe a work in progress for friends, with an impromptu feel. But the ruminations on Bhuchar’s life and career are structured around her sons and contain a lot of careful thought. Bringing intergenerational views, along with plenty of her own, to the stage makes the show interesting and entertaining.

Bhuchar is one cool mother. She even swears. Her rapport with the audience is fantastic and let’s hope her erudite offspring know how lucky they are. As Bhuchar adopts the voices of ‘The Sons’ (I’m sure the notes she holds capitalise that) she has fun but doesn’t condescend. Ever get a sense of awe around super smart Gen Z’s? Even if we all understand they don’t know everything. Bhuchar strikes the perfect balance between listening and questioning.

The lockdown chats Bhuchar was inspired by are serious. Deep Meaningful Conversations (inevitably abbreviated) that raise and contribute to issues around race, aspiration, and expectation. The show is moving, from her family history of immigration, to tackling current fears including austerity and climate change. And there are surprises – the younger perspectives on identity and politics display plenty of originality.

Along with insight, Evening Conversations is funny. Who rolls their eyes most – the boys or their mum – is a close call. A calm confidence makes the gentle jokes here a pleasure. Bhuchar describes the multiculturalism that is part of her life as “convivial” – a word that could be applied, if not sum up, her show. With “no story and nothing happening” this piece forces us into the moment. An appropriate aim for a yoga practitioner like Bhuchar. And that moment is both wise and charming.

Until 12 November 2022

www.sohotheatre.com

Photo by Harry Elletson

2022

“Mary” at the Hampstead Theatre

The frequency of dramatisations and the little learning many of us have about Tudor history make a serious new play about Mary Queen of Scots rather difficult. And Rona Munro’s new play is very serious indeed.

The playwright is an expert. Her James Plays cycle, looking at earlier Scottish history, were a thrilling epic when they visited London. As the latest instalment of an exciting ongoing project, Mary stands alone and shows a master at work. But it is notably starker – as reflected in Ashley Martin-Davis’ design and Roxana Silbert’s restrained direction – and a model of economy.

Munro takes only two moments in Mary’s story – her escape from and then imprisonment by her third husband, the Earl of Bothwell. The thesis is that the Queen was abducted and raped. Munro highlights how impossible it is to know what really went on. The next bold move is that Mary herself doesn’t speak. The play is more about how she is interpreted – and used. And it’s a sorry tale that generates much sympathy and anger.

The politician James Melville is the focus. We see him powerful and then broken, with the moral dilemma of how those in power handle cases of sexual abuse full of contemporary resonance. This is a complex role given a strong realisation by Douglas Henshall. Melville is smart, cynical and a stranger to modesty. Seeing his regrets and justifications make great drama. For all that, Henshall’s ability to bring out the play’s dry humour impresses most (and shows a further skill that Munro excels at).

Rona Morison in Mary at The Hampstead Theatre
Rona Morison

Melville’s interlocutors are fictional characters called Thompson and Agnes. They illustrate realpolitik and religious conviction respectively but still manage to feel three-dimensional. Their passions don’t make the roles easy to perform (Agnes has a damascene moment that might make you pause), but these are strong performances from Rona Morison and Brian Vernel that take into account how a small contact with power can make a big difference.

The three characters talk and talk. It is remarkable how much excitement Silbert maintains in such a static play. The movement comes with minds changing, with characters persuading. Motives surrounding love and power shift and we are left questioning how sensible or selfish each position and character might be. As for the biggest achievement, time will tell… Munro might have managed to change how we think about Mary herself. The play that takes her name is certainly good enough to do so.

Until 26 November 2022

www.hampseadtheatre.com

Photos by Manuel Harlan

2022

“A Sudden Violent Burst of Rain” at the Gate Theatre

With magical sheep whose wool makes the rain and a trip to a king’s castle, playwright Sami Ibrahim blends elements of a fairy tale with a story of immigration. The mix is productive and, benefitting from a strong production directed by Yasmin Hafesji, deserves acclaim. Just don’t get too comfortable as you settle down for this yarn.

As the Gate Theatre’s first production in its new Camden home, Hafesji enhances the intimacy of the venue. Inside, the audience is very close to the in-the-round action so a snug sense of settling down to hear a story is cleverly fostered. With several trunks that contain surprise props, Ryan Dawson Laight’s design is great, providing an air of improvisation that adds dynamism.

Samuel-Tracy-credit-Craig-Fuller
Samuel Tracy

But an excellent trio of actors as story tellers is the key to success here. Sara Hazemi takes the role of Elif, an illegal immigrant in a strange land, exploited but retaining dignity and independence. Princess Khumalo is her daughter (at various ages) as well as The Landowner (the least successfully written role) and is especially good at injecting some humour. Samuel Tracy plays, mostly, Elif’s suitor – a character who is, admirably, not simply her seducer. The characters are all brought to life well. The cast excels when it comes to creating the air of a story in progress – the actors bring a sense of urgency to a script that plays with timelessness.


The gravity of the story increases – after all, immigration isn’t a fairy tale. Elif’s attempts to shape narratives (past, present and future) are contradicted by other characters. There’s a sinking feeling around encounters with bureaucracy or attempts at betterment. And there are moments of frustration – including a long fantasia delivered impeccably by Hazemi- that have great energy. It isn’t Ibrahim’s fault that the play becomes predictable. Indeed, it adds weight to his argument. We expect fairy tales to have a happy ending. That this one doesn’t is a bold move.

Until 5 November 2022

www.gatetheatre.co.uk

Photos by Craig Fuller

2022

“The Crucible” at the National Theatre

Lyndsey Turner’s new production of Arthur Miller’s classic looks and sounds great – no small achievement given its famous setting of seventeenth century Salem run by Puritans. Design supremo Es Devlin uses a lot of rain onstage while Tim Lutkin’s superb lighting also impresses. The music from Caroline Shaw is good – a mix of hymns and background soundscape that is atmospheric but not too spooky. Behind the fancy touches is a solid production of an excellent play.

There’s nothing faddish when it comes to a revival (if that happens to concern you). For Miller, the historic witch hunts are a parallel to McCarthyism in the 1950s. Turner doesn’t stretch to any twist. I thought the crazy children, who say they have seen devil and end up “jangling the keys of the kingdom” might provide a spin. But the audience can make up its own connections – thank you – Miller’s study of hysteria and revenge is powerful enough.

Turner has confidence in the piece. Miller’s preface and an afterword are added, pretty neutral inclusions in my opinion. Respect for the text is referential (after all, it really is brilliant) and despite ending up a long evening, the production is gripping.

The key is not to question how credible events seemed. The accusations the girls make are going to raise eyebrows nowadays – could people really believe them? Likewise, the twisted logic of the theocracy that falls for their tricks: yes, the idea of dancing was scandalous! But the dark motives in the play are serious and Turner aids the piece’s gravitas.

Brendan-Cowell-and-Rachelle-Diedericks-in-The-Crucible-at-the-Naitonal-Theatre
Brendan Cowell and Rachelle Diedericks

The younger cast members do a great job when it comes to a degree of restraint – not easy when you are supposed to be possessed by the devil. The leader of the pack – Abigail -seems far from “wild” and her cohort Mary suitably scared through strong performances from Erin Doherty and Rachelle Diedericks. There is a sense neither girl really knows what they are doing but are carried along by events.

It’s the adults in the show who are the focus. A suitably bland Paris, the community’s minister, becomes increasingly manic in a controlled performance from Nick Fletcher. John Proctor, the play’s flawed hero, takes a back seat: Brendan Cowell must wait until the very end to shine. Instead, it’s his wife, played by the excellent Eileen Walsh whose steely self-righteousness interests more. Walsh suggests the power as well as the costs obtained from the character’s “cold” persona.

Erin-Doherty-and-Fisayo-Akinade-in-the-Crucible-at-the-National-Theatre
Erin Doherty and Fisayo Akinade

Above all, the court itself is the focal point. More than just the villains of the play, Miller is careful to present the arguments of those who come to judge. There are two figures with different journeys here: the Governor Danforth (played expertly by Matthew Marsh) who balances arrogance with conviction. And an excellent Reverend Hale – a great performance from Fisayo Akinade – whose flip between repentance and cynicism when he realises the disaster he is embroiled in, is brilliantly done. It’s these figures of authority that interest most  – and Turner interrogates them superbly.

Until 5 November 2022

www.nationaltheatre.org.uk

Photos by Johan Persson