Tag Archives: Joe White

“The Little Big Things” at the Soho Place Theatre

This new musical is based on an inspirational memoir by Henry Fraser. A promising rugby player, Fraser had a life-changing accident that left him tetraplegic at only 17.  His brave acceptance of his condition and subsequent success as a mouth artist is a heart-warming story that’s hard to criticise. Yes, you will cry. But that doesn’t automatically make a show based on his life a hit.

Following Fraser’s positive outlook, there is a lot to be upbeat about here. The book for the show, by Joe White, is solid. The idea of having Fraser portrayed by two performers (Jonny Amies and Ed Larkin, who are both good) is great. One is Fraser’s ‘pre-accident’ self who stays with the other, haunts him you might say. The two need to say goodbye so that life can move on.

The show’s structure allows plenty of time for Fraser’s family. There is detail about how his three brothers (played by Jordan Benjamin, Jamie Chatterton and Cleve September) cope. And, of course, his parents, played by Alasdair Harvey and Linzi Hateley. Everyone does good job. That so much care is taken over how everyone feels is admirable.

Luke Sheppard’s direction also gets plus points. Sheppard gets a lot out of his mostly young cast and fills the stage with energy. There’s colour, too (remember, Fraser is a visual artist), with Howard Hudson’s lighting and Luke Halls’ video designs making the most of the new venue’s swanky facilities. It’s all aided by strong choreography from Mark Smith, which includes the super touch of using sign language. The show’s inclusivity is smart: making sure anything the able-bodied Amies does is followed by Larkin in his wheelchair is a powerful point and a dramatic highlight of the whole show.

For all the professionalism in the production, and a very hard-working cast, problems with The Little Big Things are too large to be ignored. The humour can most generously be described as plucky. Only Amy Trigg, as Fraser’s physiotherapist, really manages to land jokes. A lot of dialogue, which may well be authentic, comes across as obvious or even touching on manipulative when played out on stage.

Worse is still to come. The music, by Nick Butcher, is unimaginative. There’s an appreciation that different characters get different sounds. But none of the numbers interests and too many sound like bad boy band songs. The singing is good, but it is painfully obvious when strong voices (especially Gracie McGonigal and Malinda Parris) bulk out poor tunes. The lyrics, co-written by Tom Ling and Butcher, are horrid. One number is even based on get well cards. Far too many are inspiration quotes, the kind you find on social media. If you want to put them in a frame, that’s your choice, but please leave them out of songs.

Until 25 November 2023

www.sohoplace.org

Photos by Pamela Raith

“Inside” from the Orange Tree Theatre

Joining the list of theatres streaming shows live, this offering from Richmond is a high-quality affair. A better-than-most monologue and two two-handers show three different approaches to stories about the Covid-19 lockdown.

Guidesky and I

This smart script by Deborah Bruce is a superb vehicle for the wonderful Samantha Spiro. Acknowledging how difficult this past year has been, the character of Diana is clearing out her deceased mother’s home and trying not to “unravel” at the same time. With some excellent sound design from Anna Clock, an elegant stream-of-consciousness monologue increases in tension throughout its half-hour duration. It’s clever to make Diana an unappealing character who’s short-tempered, stressed and angry (I’m sure we can all recognise some of this in ourselves of late). A problem with an online order, which holds the piece together admirably, proves startlingly effective and surprisingly moving.

Ishia-Bennison-inside-at-the-orange-tree-theatre
Ishia Bennison

When the Daffodils

Joel Tan’s piece is less successful, although there are strong performances from Ishia Bennison and Jessica Murrain, who do well to hide a mawkish tone. Small pleasures and the importance of the caring profession are handled well enough. But Tan elaborates into a poorly sketched dystopian future where a “consensus” has resulted in older people quite literally imprisoned in their homes. It’s easy to see where the thinking comes from and, although there’s surely a debate to be had around such a topic, Tan’s contrived twists add confusion rather than substance.

Inside-from-the-Orange-Tree-Theatre-credit-Ali-Wright
Fisayo Akinade and Sasha Winslow

Ursa Major

For more big topics highlighted by Covid-19, Joe White has a young man with OCD in conversation with a “houseless” woman. If the backstories about Jay and Callisto aren’t quite convincing, the performances from Fisayo Akinade and Sasha Winslow are fine and the characters themselves likeable. White ticks boxes about lockdown life, and he does it well, with an underlying challenge about “normal interaction” that is sharp. Dark energy provides an impressive and effective metaphor throughout and there’s some welcome humour. Moving away from the theme of lockdown to think about distance more generally (well done!), White even provides a sweet ending.

Outside

For all the shows, the direction from Anna Himali Howard deserves high praise, as respecting the tone of each writer benefits the event overall. United by an “underlying feeling of unease”, at times excessively, it’s no surprise that Inside isn’t cheerful. But each playwright has managed to reflect our times. Maybe things will perk up for the second programme (15-17 April) when the theme, like us, moves away from our homes?

Until 27 March 2021

www.orangetreetheatre.co.uk

Photos by Ali Wright