Tag Archives: Amy Jane Cook

“Boys from the Blackstuff” at the Garrick Theatre

Since the word seminal is nearly always attached to Alan Bleasdale’s 1982 television drama, it is easy to declare its cultural significance. But given that theatre lacks working-class stories – and current concerns around inequality and austerity – the show still feels urgent. The effects of Liverpool’s “managed decline” by Margaret Thatcher’s government are shown through powerful stories of family and friendship that make for great drama.

It’s all meat and drink to its adaptor, playwright James Graham, who is an expert at bringing politics to the stage while focusing on personalities (think This HouseLabour of Love or Monster Raving Loony). Graham turns out ideas and emotions in equal measure. Meanwhile, director Kate Wasserberg does an excellent job of making it all theatrical, with song and sound (credit to Dyfan Jones) as well video work (James Jenkin) used throughout. There’s strong input from movement director Rachael Nanyonjo, especially during a fight scene. And a brilliant twist when it comes to one character’s children (that I won’t spoil).

The politics can’t help but be heavy handed – they reflect desperation. But the history is dealt with more lightly (although Amy Jane Cook’s costumes are spot on). Above all, it is the characters brought to the stage so vividly, still well-loved long after they have left our TV screens, that prove the biggest success. 

Lined up at the dole office as if they were criminals, we see this “famous five” as a close-knit group of mates and are instantly on their side. Their history and trials are held together by Philip Whitchurch’s powerful portrayal of the slightly older George, a good man who acts as a confidante to all and whose death brings a tear to the eye.

Another focus is the well-meaning Chrissie, too nice for his own good, who faces a moral dilemma that Nathan McMullen makes epic. Mark Womack’s performance as Dixie, forced to compromise in order to make ends meet, is a neat contrast that’s quieter, maybe, but no less moving. The fate of Loggo, played by Aron Julius, who moves away to look for work, provides further food for thought. And by no means least, Barry Sloane’s troubled Yosser is a forceful presence with his famous “gizza job” refrain summing up so many of the show’s concerns.

The humour is distinctive, and interesting. There are jokes in Boys from the Blackstuff – good ones. But care is taken by Bleasdale not to laugh at, let alone patronise, his creations and Graham respects this. While there are big emotions on display, performers never overplay their gags. We are even told to stop laughing in a powerful scene for Lauren O’Neil, who plays Chrissie’s wife Angie. She is sick of putting on a brave face as she goes hungry. Of the show’s many admirable qualities, the justifiable anger that burns away makes sure this is a work that stands proud. A good job all around.

Until 3 August 2024

boysfromtheblackstuff.com

Photo by Alastair Muir

“Ride” at the Charing Cross Theatre

What a story! This new musical from Freya Catrin Smith and Jack Williams is about the life of Annie Londonderry (née Kopchovsky), who cycled around the world in 1895 and then became a journalist. 

The clever book makes the most of her adventures and draws important points about privilege along the way. The device of Annie pitching to newspaper editors is skilfully managed by director Sarah Meadows, utilising Amy Jane Cook’s clever set and costume designs.

The music is good, maybe pleasing more than memorable. The score is eclectic with a light period touch. And the lyrics are excellent – not just for their superb geographical rhymes, but by being consistently smart, unshowy, thought provoking and easy on the ear. I haven’t heard new songs this good in a long time.

What a woman Annie was. As a working-class Jewish immigrant in America, the odds were against her. But Smith and Williams tackle her potential role as an inspirational figure intelligently… because Annie made some questionable choices and was a liar. Or at least a shameless salesperson, ready to sing Everybody Loves a Lie with a smile on her face. And the show is better for her cynicism – Annie’s tall tales feel like a present Smith and Williams enjoying playing with.

The character is a gift to a performer, too – what a role! This troublemaker and trailblazer is brought to the stage by Liv Andrusier doing a great job with those fabulous lyrics and enforcing the impression of a woman who is enticing and complex. It’s all energy at first, which Andrusier makes infectious. Then there’s swooning romance. And, as we learn more about Annie’s difficult life, great pathos. It’s quite the journey, but Andrusier makes it look easy.

Yuki-Sutton-and-Liv-Andrusier-in-Ride-credit-Danny-Kaan
Yuki Sutton and Liv Andrusier

Ride isn’t a one woman show. Joining in is Martha, played by Yuki Sutton. And how this second role is tackled is indicative of the skill throughout: the character is a device, but a supremely effective one. Drafted in by Annie herself to help tell the story, Martha takes on several characters, which gives Sutton a chance to impress: she plays two romantic interests, the French customs official Celine by far my favourite.

The clever part comes with how the playacting affects the character. By the end, Martha carries the show, briefly adopting Annie’s self-fashioned persona. This smart move suggests how role models work. Almost regardless of Annie herself, another young woman is now willing to put her foot down and pedal towards her dreams.

As for the show’s path, with a lead that’s a mix of Mabel and Dolly, with all that ambition and chops, someone needs to take this to New York. The sense of potential for the production is exciting – see it now so that you can boast about it later.

Until 17 September 2022

www.charingcrosstheatre.co.uk

Photos by Danny Kaan