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“Intimate Apparel” at the Donmar Warehouse

Nothing written by Lynn Nottage should be missed. Director Lynette Linton’s revival of the playwright’s 2003 piece, last seen at the Park Theatre, is splendid. This story of a seamstress at the turn of the 20th century is well constructed, dramatically engaging, full of poetry and contains great insight. And what a heroine! Esther’s hard work, good heart and bad luck all prove compelling as she looks to better herself and find love. While the show is more than a romance, it is easy to fall in love with her.

The lead role is a triumph for Emmy award-winner Samira Wiley. Barely off the stage, she holds the audience’s attention with ease, although the role could be played with more restraint. There’s a balance between Esther’s determination to fulfil her dreams and her disbelief when some of them appear to be coming true that Wiley doesn’t quite pin down. But the emotion displayed is sincere and always moving.

While Esther overly dominates the play, there is excellent support from three women who are her friends, played by Nicola Hughes, Claudia Jolly and Faith Omole. These accomplished performers share Nottage’s skill in making their roles more than foils. There’s a case for claiming that Intimate Apparel is a play about female friendship.

intimate-apparel-Kadiff Kirwan-credit-Helen-Murray
Kadiff Kirwan

Kadiff Kirwan is George, whose epistolary romance with Esther very results in their marriage. His wonderful letters convince – until their nuptial night. The cloth merchant Mr Marks is a tougher role for Alex Waldmann. The chemistry with Wiley is good, but there’s not enough conflict surrounding this potential romance. And Waldmann should display the material he sells (and praises so beautifully) with more care.

A long-term collaborator of Nottage, Linton is a justifiably confident director. Which makes some fussy touches in the show’s design (by Alex Berry) a surprise. The video work feels unnecessary. But the production’s intensity is a marvel – full of frustration, passion and drama. It’s sexy, too, with innuendos about fabric and Esther’s fantasies given weight. The humour shines out and there are gasps over plot points. None of this is surprising, given the strength of the script, but it’s a still an achievement and a theatrical thrill.

Until 9 August 2025

www.donmarwarehouse.com

Photos by Helen Murray

2022

“The Ministry of Lesbian Affairs” at the Soho Theatre

Iman Qureshi’s queer musical comedy deserves to be a big hit. It’s funny and the songs, performed by the seven-strong titular choir, sound great. Plus, it’s Queer in proud, heart-warming fashion – addressing the concerns of a community with sensitivity and intelligence.

Director Hannah Hauer-King and the cast have a firm grasp on one-liners and wry observations guaranteed to make you laugh out loud. But the play’s strength comes with its diverse group characters – who are lovely to get to know.

The choir is led by Connie, an Owl (Older Wiser Lesbian!), full of eccentric appeal that enables Shuna Snow to make the character a starring role. There are great gags for Dina from Qatar, discovering her sexuality despite her grim husband, and more laughs for the frisky Ellie. In these roles Lara Sawalha and Fanta Barrie excel. There’s burgeoning romance for Fi and Brig (further strong performances from Kiruna Stamell and Mariah Louca). And the choir has new arrivals in a long-standing couple, Ana and Lori, whose squabbles are great fun for Claudia Jolly and Kibong Tanji to perform.

These women are all terrific – a joy to watch and listen to. Inclusion is the name of the game as the group bond and are selected to perform at Pride. Hurrah! And if the play had ended here, I’d have been, simply, very happy.

Up to the interval, The Ministry of Lesbian Affairs has a humour and sweetness that reminded me of the current Netflix hit, Heartstopper. The latter is a teen drama, of course, and Qureshi is writing for adults (with an adult wit). But there’s a similar sense of ‘Queer Joy’, a concern for Representation with a capital R and confident, admirable characters not just defined by their sexuality.

Qureshi doesn’t just want to make us laugh. The second half of her play is much more serious. Hauer-King (one half of Damsel Productions) handles this shift expertly, especially with scenes of potential violence, and the cast members further impress with their aptitude for real drama. That investment in the characters pays off as relationships end, therapy is sought out and the adorable Dina’s fate becomes a cause for concern. 

An upset at the Pride event raises the issue of including transwomen in the choir, allowing Louca and Stamell a brilliant scene that deftly lays out this contentious issue. We are shown the importance of language and how essential safe spaces – like the choir itself – are. Qureshi provides so much debate there’s a danger of falling into some of the clichés she has earlier lampooned. But her points are important and well made. Thankfully, a love for the characters created and a palpable sense of community provides an uplifting end.

Until 11 June 2022

www.sohotheatre.com 

Photo by Helen Murray