Tag Archives: Max Johns

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“Why Am I So Single?” at the Garrick Theatre 

Given the massive success of their first musical, Six, anticipation surrounds Toby Marlow and Lucy Moss’s new show. Their story of Henry VIII’s wives performing a concert had a big concept driving it. Why Am I So Single? sounds simpler -just two friends chatting about their love lives and attempting to answer that titular question. But, as you might guess, there’s more going on with such a talented duo. The show is smart, funny and brilliant.

Our heroes (make no mistake, that’s what they are) Nancy and Oliver are stars. They’d concur that they might be “weird and intense”, but a combination of vulnerability, intelligence and wit makes them easy to spend time with. Excellent performances from Jo Foster and Leesa Tulley emphasise admirable qualities. It’s a safe bet most of us would want to join them, with wine, on the sofa the show is based around.

It just so happens Nancy and Oliver are musical theatre writers, working on a new show for this very theatre after a previous hit. Names have been changed to protect identities, so we’ve no idea who characters might be based on! There are a lot of in-jokes (Lionel Bart would be very happy) and they are all very funny. If the references and the metatheatricality are a turn-off, you might have a problem. But instead of the usual arty angst about writing a show, it’s clear Marlow and Moss love what they do, and that enthusiasm is exciting.

“A big fancy musical”

All this is entertaining and convivial, although it targets a youthful audience and going on dates is, dramatically, small stakes. But Why Am I So Single? aims to be “a big fancy musical”. How Marlow and Moss attempt that leap is fascinating. Most obviously, a great ensemble joins our couple, bringing ambitious choreography from Ellen Kane. Performing as household furniture (Max Johns’ costumes are a blast) as well as backing singers and dancers, there’s also a good friend, Arty (the excellent Noah Thomas), filling the stage with energy. It’s all a touch mad (including an accomplished song about a bee) but also, magically, feels grand.

WHY-AM-I-SO-SINGLE-inset-credit-Danny-Kaan

The songs are fantastic. The variety of styles show composers who know every trick in the book, and each number is a great example of writing for the theatre. All songs deserve praise, and several have twists with bite. And the lyrics are a joy, as plenty of swearing sits alongside erudition. Yes, there are bonus points for getting antihistamine and citronella into a song. But alongside laugh-out-loud lines, plenty bring a tear to the eye, stop you in your tracks and provoke thought.

It turns out the show is big and fancy because it has something important to say. We’ve seen modern dating on stage before, but seldom this funny, explored so deeply or with a non-binary character centre stage. But while Nancy and Oliver’s trials in the ‘Meet Market’ of dating apps is great… a further theme comes to the fore. Reassessing platonic relationships is the answer to the show’s question. This new focus on love – increasingly topical – is handled with a cleverness and sensitivity that makes Why Am I So Single? stand out. Marlow and Moss have done it again.

Booking until 13 February 2025

whyamisosingle.com

Photos by Danny Kaan

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“As You Like It” at Shakespeare’s Globe

The potential for Queer interpretations when it comes to this Shakespeare romance is clear. Putting a spin on our heroine Rosalind’s role-playing isn’t new (Cheek By Jowl’s 1991 production is still my favourite example). But director Ellen McDougall’s production, which embraces all kinds of identities, is full of ideas and a hell of a lot of fun.

McDougall and her cast enjoy the venue. As well as the gender-fluid casting, there are plenty of touches, like the audience participation, that feel characteristic of Shakespeare’s Globe. The energy is high, especially from our lead lovers Rosalind and Orlando, played by Nina Bowers and Isabel Adomakoh Young respectively, who both bound around the stage. There’s strong comedy from Macy-Jacob Seelochan’s Celia (a very neat performance) and Alex Austin’s Jaques. Ambiguity is emphasised and difference played with to raise questions.

Transformation is the key: this forest of Arden is a place full of potential. The Queer politics are as broad as possible – the approach might be called holistic. Ideas about nature run through the show (lavender and apples are handed out to the audience). Much is made of Orlando’s servant Adam dying, with an effort not to throw “unregarded age” into a corner but see it as part of cycle of life. It’s a shame that, despite a strong performance from Stephanie Jacob, the moment isn’t moving. But the ideas are interesting and have a firm base in Shakespeare.

The music, which features heavily, isn’t a successful as it could be. Using pop songs in Shakespeare is common enough, but mashing up well-known tunes is complicated. Composer Michael Henry’s work is accomplished but proves too much for a cast who are not, primarily, singers. Max Johns’ costumes, though, are excellent, embodying the show’s intelligence and sense of rebellion. Johns transforms elements of historic clothing to play with gender and sexuality. Each outfit is bright, fun and smart in every sense of the word.

As You Like It isn’t as enlightened as most of us would like. There’s no ignoring misogyny or class and, in the end, order is (quickly) re-established. But if anywhere kicks against preserving Shakespeare just for the sake of it, it’s here. The production has additional text from Travis Alabanza to boost ideas about family and friendship. Efforts are made to emphasise joy and jokes. And, if things get too tricky, we’re told we are going to skip to the next scene! This is the night’s finest, winning moment. McDougall bring a sense of honesty – of working things out – that is exciting.

Until 29 October 2023

www.shakespearesglobe.com

Photos by Ellie Kurttz

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“Overflow” at the Bush Theatre

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Trans activist Travis Alabanza’s new play is set entirely in a toilet. Given that public conveniences are currently contested places the location is, if a little depressing, appropriate enough. But what Alabanza does within this limited space, and what is achieved with the play’s careful focus, is remarkable.

A theatre blog isn’t the best place to discuss trans rights. Like the Twitter comments Alabanza’s character Rosie decries, the issues are complex and emotive. And this play certainly manages to speak more eloquently about them than I could. Theatre, in Alabanza’s hands, proves a stirring forum: the argument put forward is intelligent and elaborated with a human experience that makes for a powerful show.

Reece Lyons in 'Overflow' at the Bush Theatre
Reece Lyons

The key is Rosie, a well-written character brought to life in a strong performance from Reece Lyons, ably directed by Debbie Hannan. Smart, sharp and often witty, Rosie proves a fascinating guide as we learn her history – fun and fraught – through different toilets. From hiding as a child, to school pranks, then discovering her identity in night clubs, the space performs more functions than I at least ever imagined. The smallest room was a place of sanctuary… until recently.

Alabanza provides an essential dramatic twist for Overflow. For it seems that Rosie’s experience of toilets has got worse as society commends itself for being more liberal. The show is punctuated by knocks on the door from men waiting outside; Rosie is under threat. There are also discussions of how women have become more hostile to Rosie, making the space she considers her own one that she now wants to wreck.

The rage that culminates in the destruction of Max Johns’ clever set – the circular shape recalling an arena, adding to the drama – becomes understandable and also moving. And touches of bravado to hide her fear deliberately fail to convince: this isn’t what Rosie wants, rather the wish is to “swim not drown” in these metaphorical waters. It’s Rosie’s address to women – an appeal to sisterhood – carefully drawn together as the piece culminates, that provides Alabanza’s strongest points. And a hope for a kinder future.

www.bushtheatre.co.uk

Until 16 January 2021

Photos by Sharron Wallace