2022

“Passion Fruit” at the New Diorama Theatre

Dior Clarke’s semi-autobiographical play is full of affirmation. From the start Clarke tells us his tale is a “self-love story” and characters keep positive in the face of difficult circumstances. The script, written with Stephanie Martin, suffers from self help mantras. But growing up gay on a rough estate, with an abused mother and a brother in trouble, needs determination and bravery – Passion Fruit has plenty of both.

Valid as the project of representation is – bringing new voices to the stage is important – the play isn’t innovative dramatically. The story is simple and much of the subject matter predictable, a lot of it depressingly so. There are no surprises: from a child questioning how men “should” behave, a teenager hiding his sexuality, through to the happy drama school ending. Instead, the show’s strengths come by adding energy to the story.

Passion-Fruit-11-Credit-Cesare-Di-Giglio
Hayden Mampasi, Dior Clarke and Charlotte Gosling

First, there is Clarke himself who brings considerable presence and physicality to the stage. Clarke deals subtly with showing a five year old, a school boy and then a petulant teenager: while the character is loud, the depiction is restrained. There are moments when delivery of the lines might be clearer, and direct addresses to the audience occur too often. But the emotions aroused by his family and community are sincere. Strong comic touches are even better.

Clarke is supported by two tremendous performances. Under the tight direction of Melinda Namdar, Charlotte Gosling and Hayden Mampasi perform all the other roles and don’t put a foot wrong. Mampasi is great as an elder brother, then potential boyfriend, as well as having an excellent comic turn as a grandmother. Gosling’s performance as the mother grounds the play from the start. And she impresses as different love interests, both female and male.

Gosling joins Clarke in two of the show’s strongest moments, intimate scenes where sex is depicted with originality. A clubbing scene is another highlight, as Clarke pole dances and explains the importance of wild nights out (albeit with unbelievable sophistication for a 19 year old). The movement in the piece, directed by Kane Husbands with Mateus Daniel, is interesting throughout – fighting or flirting as well as making love, it is the movement in the show that makes it worth watching.

Until 19 March 2020

www.newdiorama.com

Photos by Cesare Di Giglio

2022

“Ghosts of the Titanic” at the Park Theatre

It’s impressive to give the story of the world’s most famous shipwreck a new twist. Ron Hutchinson’s solid play speculates that the iceberg didn’t exist and creates a conspiracy theory involving corrupt bankers and businessmen. This is a topical spin on fake news being as old as newspapers themselves but, above all, Ghosts of the Titanic is a cracking thriller.

There are two newshounds here – an ambulance-chasing reporter and his hard-nosed editor. The characters are written well and superbly performed by John Hopkins and Lizzy McInnerny. The cynicism around the making of the news is thought-provoking. Do we really believe the ship’s band played on as death approached?

The power of words and narrative continues as we encounter representatives of the law (well, a Pinkerton private eye) and the medical profession (it’s a good plot twist, so I’ll avoid details). Both characters, performed capably by Sarah Ridgeway and Clive Brill, have comic touches. The humour shows Hutchinson’s skills but, to my taste, dampens tension.

Walking with the dead

Even when there are exaggerated moments, all the characters are entertaining. But, aware that conspiracies can become tiresome, flimsy affairs, Hutchinson makes sure there’s strong emotion powering the show. We follow a grieving heroine – a big part for Genevieve Gaunt, who is seldom off stage and always captures attention. And we get our information from an engineer (an impassioned performance from Fergal McElherron).

Both the grief this tragedy engendered and its status as a defining event in history are handled well. There is a sense of responsibility that saves sensational moments from becoming disrespectful. Gaunt’s sensitive yet determined character wobbles, but is ultimately convincing. The strong plot moves along expertly, with Eoin O’Callaghan’s firm direction showing its strength in making flashback scenes clear. In short, the story is good and the story telling is expert.

Until 2 April 2022

www.parktheatre.co.uk

Photos by Piers Foley

2022

“Henry V” at the Donmar Warehouse

A lot of people like to see a star on stage. The attraction for Max Webster’s new production of Shakespeare’s history play is Kit Harington. And the Game of Thrones actor more than earns his presumably vastly reduced wage. Although the production has its moments, Harington is the focus of these in what is an uneven affair that’s too stop-and-start to call it a success.

The large cast takes on multiple roles – which is, normally, sure to impress. And all the more so when the cast is bilingual. For Webster’s version of the play has French characters speaking French. Which makes sense – and makes a point – but creates mixed results.

The scenes in French prove a distraction, as you can’t help wondering if the performer is a native speaker. And when it comes to the different roles, it is all too obvious which one each cast member prefers. Efforts to distinguish the different parts (through accents or body language) are often poor. Kate Duchêne is a notable exception but, overall, there’s a lot of talent for little result.

The language isn’t the only distraction. Andrzej Goulding’s video work is good, but it is too big for the stage. As with Fly Davis’ impressive design, the Donmar’s intimacy is negated. Is a transfer so badly desired? A stage this small feels crowded very easily, yet Webster ignores this. He clearly just wants a bigger space. At one point we even have some marching on the spot… yuk.

Henry V is famous for Shakespeare’s appeals to our imagination. The chorus’ speeches can be inspiring, but here they are lacklustre – Millicent Wong’s delivery is strangely petulant. In attempting moments of realism, the show doesn’t deliver. I don’t think using guns helps, but fight scenes frequently look clumsy. Their direction, by Kate Waters, is, again, really for a different venue.

The production is not a failure. The addition of strong singing is revelatory – there are powerful voices in the cast that gave me goosebumps. It’s a shame that additional music (including, sigh, some Handel) is all over the place. Several scenes have a rawness which is striking (the final scene for Danny Kirrane’s particularly unappealing Pistol is notable).

Above all, Harington’s Harry is a great. The anxiety of ruling and war are etched on this king’s face, and the play between politician and regular guy is riveting. Star appeal saves the show. Which is good, but a little disappointing.

Until 9 April 2022

www.donmarwarehouse.com

Photo by Helen Murray

2022

“Bacon” at the Finborough Theatre

Teen dramas are two a penny. Young lives have plenty of problems, ample angst and content that, as the saying goes, is relatable. A playwright needs to up to the ante with this subject matter. And that’s exactly what Sophie Swithinbank does with her powerful and smart script.

Swithinbank takes us on a journey with her characters Mark and Darren that is carefully plotted. The writing, full of strong yet understated imagery, is admirable. But praise does come with spoilers…

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I’ll admit I was fooled at first. The odd friendship with clean-cut new boy Mark and his rough friend Darren has charm and effective (if predictable) humour. There are laughs about the aloofness of one and the ignorant swagger of the other. It seems that Swithinbank will treat their very different problems equally.

In a bold move, the tone of Bacon changes quickly. The teens’ burgeoning relationship, told in flashbacks, reveals not the romance Mark wants but trauma. The play becomes disturbing as the relationship becomes emotionally and physically damaging.

Think of a topic that gets a trigger warning and it’s here: suicidal ideation, self-harm, domestic and sexual abuse. Could  some have been avoided and others given more time? But there’s no doubt the cumulative effect is dramatic. Some scenes are difficult to watch as Swithinbank explores how lost and lonely these young men are. It’s depressing how incapable they are of understanding, let alone expressing, feelings.

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The production rises to the challenge of Swithinbank’s ambition. Matthew Iliffe’s direction is faultless, flipping between relaxed and tense moments. The design by Natalie Johnson consists of a simple see-saw used to great effect: reminding us we are watching children and reflecting instability. Further praise goes to top-notch lighting and sound design (Ryan Joseph Stafford and Mwen) each used dramatically at key moments without being distracting.

As for the performances, two such intense and dynamic roles are gifts to actors. Both Corey Montague-Sholay and William Robinson are flawless, with have a strong command of the comedy (balancing how the audience might laugh at, rather than with, the characters). Montague-Sholay brings out Mark’s charm, Robinson does the same with Darren’s vulnerability, ensuring remarkable sympathy. When violence arrives, we see the characters sharing shock and pain. Strong performances and a daring play make this an easy one to recommend.

Until 26 March 2022

www.finboroughtheatre.co.uk

Photos by Ali Wright

2022

“The Woods” at the Southwark Playhouse

David Mamet’s 1977 play is a romantic drama – just a very fancy one. The script is clever and, in this revival, carefully managed by director Russell Bolam. Allusions are dense, the angst extreme and the sexual politics wretched. If you aren’t a Mamet fan, it can prove tiresome. There’s an easy misanthropy behind the story of a couple falling out of love in a romantic cabin, even if the ideas spouted are highbrow. Is it obvious I’m not sold?

But I’d still recommend this show unreservedly – because the two performances here are fantastic.

Watching Sam Frenchum as Nicholas and Francesca Carpanini as Ruth isn’t pleasant. As a gushing hippy away from the city, she is frankly annoying. Nor does her mistaken idea that ursine partner is “serene” generate much sympathy. Meanwhile, Nicholas’ mansplaining isn’t going to win him many admirers.

The anxiety both characters share is carefully revealed, especially by Frenchum, while Carpanini triumphs in showing Ruth’s desperation. And this is all despite Mamet’s exaggerations… let’s just say that the idea of alienation has a witty twist.

Nobody could make light work of the dark atmosphere Mamet insists on, or the secrets toyed with so effortfully. Nonetheless, these actors – and Bolam – understand the play’s undeniable dynamism. Watching the characters develop and respond to events and revelations is the highlight. Both actors bring intensity to their roles at just the right moments. From who you find more annoying to when you start to get scared, it’s all effective drama and very well performed.

Frencham manages to make the existential speculation here feel as natural as it can, and Carpanini proves an effective foil (it isn’t her fault that her character is only a point of contrast). If The Woods doesn’t move you emotionally, it will still make you think.

A final point of praise seems appropriate and serves as a bit of a spoiler. There is violence in the play and this is brought to the stage with such skill that it should come with a warning (I thought something had gone horribly wrong at one point). It’s overall technically brilliant, undoubtedly impressive, but somehow remains cold.

Until 26 March 2022

www.southwarkplayhouse.co.uk

Photos by Pamela Raith

2022

“Red Pitch” at the Bush Theatre

This assured debut by Tyrell Williams makes playwriting look easy. A carefully modest story of young friendship, Red Pitch is funny, sweet and has something important to say about life in London.

The three 16-year-olds we watch practising football is surely a challenge to negative stereotypes about young black men. You can’t review what a play isn’t but, suffice to say, they are an admirable trio: smart, supportive of one another and dedicated. Getting to know them is a pleasure. And Williams’ comedy writing is joyfully solid.

It helps that the roles are wonderfully performed. Under Daniel Bailey’s exuberant direction, Kedar Williams-Stirling, Emeka Sesay and Francis Lovehall bring the characters to life – comfortably so. The confidence isn’t surprising – all three performers are bright young things – but it’s also appropriate given the sense of camaraderie between them. The banter is recognisable as common among young men. The affection, less so – and this is what impresses most.

These lives are not easy. But nor are they a grim, defeated struggle. Omz is a primary carer, despite his age, which leads to moving moments for Lovehall. Bilal is under pressure to become a professional football player – a plot allowed to emerge with skilful subtlety. The pace of the whole play is commendable, Sesay’s strong depiction of Joey, who matures most as we watch, is indicative of how firmly structured the writing is.

There is a further pressure on these youngsters – one they have no control over. The redevelopment of their estate is a backdrop to the action (carefully evoked by Khalil Madovi’s sound design). As their families relocate, and their community is about to change, there are moments of touching naivety to remind us that our heroes aren’t as old as they pretend to be.

Tensions erupt, and the play threatens to end on a sour note. Separation will occur, and not just because of relocation – these childhoods are about to end. But, as an indication of how involving Red Pitch is, I’m glad Williams suggests friendship will endure, that the bonds shared and enjoyed by the audience aren’t so easily broken.

Until 26 March 2022

www.bushtheatre.co.uk

Photo by Craig Fuller

2022

“The Ballad of Maria Marten” at Wilton’s Music Hall

Beth Flintoff brings this story of a murder victim to the stage with skill and originality. Based on a real-life case that was a news sensation in 1828, this production is a thriller, but in an unexpected fashion. The Ballad of Maria Marten is more social history than murder mystery – and is all the better for that.

The focus is on Marten’s life rather than death, taking in village society and the status of women. Marten’s childhood was difficult but not unhappy – we see close bonds of friendship. Her first encounter with a man was little more than prostitution but later there was a true love affair. Considering Marten’s brutal death, there’s a lot of joy in this ballad.

The speculative biography and convincing picture of another time and place are brought to the stage by only six performers. They are all strong. But Elizabeth Crarer’s massive title role is awe inspiring. Other characters are types with work to do: the timid stepmother, the “brazen” one and the religious friend. But Sarah Goddard, Bethan Nash and Susie Barrett manage to show us depth in the trickiest roles. The latter two impress twice over, performing as two of the men in Marten’s life.

The Ballad of Maria Marten 1 credit Mike Kwasniak

It is when using the performers together that director Hal Chambers secures the strongest theatrical moments. Acting literally as a chorus – the songs from Luke Potter are fantastic – the cast physically supports Marten at moments of crisis. Aided by movement direction from Rebecca Randall, there are beautiful scenes as they dance, dress and clean their friend.

The Ballad of Maria Marten 1 credit Mike Kwasniak

After the interval the play gets darker. Marten’s relationship with her murderer William Corder is used by Flintoff to explore “coercive control”. Crarer shines as she performs powerful scenes solo. Flintoff’s research with Lighthouse Women’s Aid, which works with those affected by domestic abuse or violence, has paid off. Along with the dramatic tension, there is much to learn as gaslighting leads to mental breakdown.

The idea of denying Corder an appearance on stage is powerful. A further twist in the way tales of murdered women get told is less successful. Flintoff also wants to look at the legacy of violence on Marten’s friends. These women deserve a voice, too, of course, but the stories become truncated. The incendiary finale is neat but rushed. Even so, the show is thoroughly recommended – ideas and execution are grand. This ballad deserves to be a big hit.

Until 19 February 2022 and then on tour

www.mariamarten.com

Photo by Mike Kwasniak

2022

“Steve” at the Seven Dials Playhouse

The European première of this neat comedy drama is a sensible bet for a new venue. Mark Gerrard’s play is a solid affair, Andrew Keates’ direction is sure-footed, and the cast is a dream. With the refurbished Actors Centre looking swanky, and exciting forthcoming productions announced (don’t miss Foxes), the Seven Dials Playhouse is off to a great start.

Steve has the eponymous character’s marriage, to Steven, under pressure, not least because of their young son Stevie. Their best friends are either starting a new life as a ménage à trois or sick. If this mid-life trauma is sadly predictable, Gerrard handles the tropes… by adding show tunes. And we all know, musical theatre improves everything.

To be clear, nobody actually sings. But Steve and his circle are obsessed with Broadway shows and the work of Stephen Sondheim in particular. No matter what – infidelity, parenthood, sex, death, and friendship – there’s a Sondheim song to quote. And there’s musical accompaniment from a pianist to suggest, to those in the know, what might be coming next.

When it comes to the humour, it helps to have a working knowledge of Sondheim’s work. I’m such a fan I’ve seen Do I Hear A Waltz? so I thought it was all hilarious. But with so many references to Into the Woods and Company there is a danger some of the jokes are obscure. That said, my favourite line was a reference to the Géricault painting, with Steve describing his group’s fading sexual attraction akin to a gay Raft of the Medusa. With the help of confident comedy skills from the cast, Gerrard’s wit should entertain all.

Joe Aaron Reid in Steve at the Seven Dials Playhouse credit The Other Richard
Joe Aaron Reid

It helps that Steve is appealing, aided by a sterling performance from David Ames. Even the character’s moaning is entertaining. But the central relationship needs work in the script as well as in the play. Joe Aaron Reid plays the husband and does well in a horrible scene where he is juggling phone calls on his own. But we need to know this character better.

For heart the play relies on friendship. Most notably with Carrie, dying of cancer yet still very much alive: full of intelligence, integrity and humour. Taking the role, Jenna Russell shows why she is an actress to never miss – each scene she is in is lifted immeasurably. There are many reasons to see the show, but it’s Russell that makes Steve unmissable.

Until 19 March 2022

www.sevendialsplayhouse.co.uk

Photos by The Other Richard

2022

“The Forest” at the Hampstead Theatre

Few will rate this new play from Florian Zeller as his best. But a world première from the successful French writer is a feather in the cap of any theatre. Add a superb cast and skilled direction from Jonathan Kent and the show becomes a hot ticket.

Zeller likes to play with an audience, and you either love or loathe his intellectual games. His obsession with truth and family relations, with reality and mental illness, are familiar from hit shows such The Father and The Son. In The Forest, additional surreal touches and elements of a thriller make this story of infidelity original and entertaining.

“Sad and strange”

The Forest has three romantic affairs, well, two, really, with three acts containing repetitions as well as alternate outcomes. All the action is engendered by one man’s perspective. It’s less complex than it sounds (thanks to Kent’s disciplined approach). The idea of a kaleidoscope (cribbed from the programme) is worth bearing in mind, but it’s still often wilfully baffling.

Gina Mckee in The Forest credit The Other Richard
Gina McKee

There’s a lot of suffering in the play. A strong performance from Gina McKee as The Wife shows suspicion and concern. Angel Coulby is great as The Girlfriend, a deliberately opaque role. That this woman is perceived as unstable and dangerous comes to the fore. Both characters are shown as they relate to the lead protagonist, and increasingly so, which gives the text dynamism as well as making it uncomfortable.

If we struggle to find an emotional response to the play, this could well be Zeller’s intention. Toby Stephens leads the action alongside Paul McGann as The Man, a character so important that he needs two performers. Interpretations are welcome; but it seems we are watching a mental breakdown, fantasies and all – his mistress kills herself (or was she murdered?).

“Abandoned in a forest”

Coulby’s character is described as “difficult to manage”. And that isn’t going to endear this Man to anyone. The status of this wealthy, much-respected figure is emphasised. Is our sympathy for him a challenge? Stephens manages to convey grief and tension, and it’s hard not to feel for someone so lost.  Especially when the imagined therapist/interrogator he talks to is a spooky Man in Black, exquisitely depicted by Finbar Lynch.

Zeller’s audience might feel a little lost at times, too. Instruction for the distinct zones of Anna Fleischle’s design is that “interpenetration” occurs. Thankfully, this is subtly handled by Kent. Hugh Vanstone’s lighting is excellent. The play is a puzzle, stylishly set (quite literally… there’s some lovely furniture here). As delusions escalate (let’s just say we end up with a dead deer on stage), you can’t help feeling it all seems a great deal of effort for a simple moral message.

Until 12 March 2022

www.hampsteadtheatre.com

Photos by The Other Richard

2022

“A Number” at The Old Vic

This is an excellent revival, directed Lyndsey Turner, of Caryl Churchill’s popular sci-fi two-hander. The scenario of cloned children, head-to-head in conversations with their father, gives instant drama. The sons, played by the same actor, of course, are either discovering their parentage or have been abandoned. How they and their father react means the different scenes offer huge potential for interpretation.

The script is a prospect sure to excite actors, and Paapa Essiedu and Lennie James leap at the opportunities. Which is not to say the play is easy to get your head around. You can see the pitfalls with Es Devlin’s design. Having the walls and ornaments all the same colour is clever – a play on identity and difference. But such concepts quickly become portentous.

“Positive spirit”

Turner avoids the potential weight of the script and the fact that it is a famous play. This version of A Number is clearer, lighter and funnier. Revelations about the father’s history (that could be cryptic or odd) are treated like a thriller: exciting but also creating sympathy. The humour is almost exaggerated, Essiedu especially has great comic skill. The “positive spirit” of the first character we meet (a contrast with another ‘version’) lifts the play. Which is not to say serious concerns aren’t raised.


The nature/nurture debate is explored swiftly and effectively in A Number. Too quickly you might argue, as the show is only an hour long. Essiedu’s confusion, anger or interest in the different characters he takes on are all thought-provoking. Big issues of independence and identity are raised, as are themes of memory and responsibility.


Under Turner’s confident direction, Essiedu and James impress with their ability to bring out the play’s arguments so naturally. These are excellent performances that belie such demanding roles. Churchill’s text is as heavy with concepts as the experiment both men are part of. To make the debate feel so human is a big achievement.

Until 19 March 2022

www.oldvictheatre.com