Tag Archives: Mina Anwar

“The Importance of Being Earnest” from the Lawrence Batley Theatre and The Dukes

This super show from Yasmeen Khan is only loosely based on the Oscar Wilde classic. It is a strong play that stands on its own, while knowledge of the original adds humour. Much of the fun comes from relocating the action ‘up North’ – what a great idea – but there’s plenty of intelligent satire, too.

Staging act one on a film set is a neat way of dealing with Wilde’s engagement with themes of artifice and style. Here, Algy and Jack – now Jamil – are both actors. While Tom Dixon and Gurjeet Singh do a good job in the roles, it’s a small shame Khan decided not to follow Wilde and make both characters equally witty – the point about access to such careers would still stand. Instead, Jamil is endearing rather than amusing.

As with the recent version of Wilde’s The Picture of Dorian Grey from Henry Filloux-Bennett, social media plays a big part in the show. Khan raises good points and gets some jokes from her concerns. Jamil is a vlogger, under the pseudonym of Earnest of course, and his love interest, rechristened Gul, is glued to her phone, which makes the role rather flat (despite Nikki Patel’s efforts). Zoe Iqbal’s Safina, with her self-realisation and “manifesting”, is very funny. But both female characters seem weaker than the ones Wilde wrote, their scene together is disappointing.

Mina Anwar and Melanie Marshall in The Importance of Being Earnest
Mina Anwar and Melanie Marshall

It is with smaller roles that the show takes off. Both Miss Prism, a life coach, and Lady Bracknell, or rather Ms Begum, a hard-nosed businesswoman, make strong roles for Melanie Marshall and Mina Anwar (who also directs). There’s a lovely cameo appearance for Divina de Campo and a good part for Harriet Thorpe as Algy’s agent. Best of all is the appearance of a director, and the performance of this new role from Paul Chahidi. Wanting to workshop with Jamil, excited by his dropped aitches and the “pain” of his heritage, such sharp satire takes us to heart of Khan’s concerns.

Comparisons to the source material are only part of the story. Kahn hasn’t just set the action in a different place. By including characters of South Asian descent – with a wicked sense of humour – she raises plenty of issues and claims her own voice, showing style and substance at the same time. I’m sure Wilde would approve.

Until 4 May 2021

www.importanceofbeingearnest.com

“Everybody’s Talking About Jamie” at the Apollo Theatre

This topical coming of age story won the critics’ heart at its Sheffield Crucible debut. Producer Nina Burns was an instant fan, too, and brought the show to London pronto. Although it doesn’t stand up well to scrutiny, it’s hard to be cynical about a school boy drag queen and a triumph of individuality over adversity. With its welcome diversity this is a true tale for our times and feel good fantasia.

The show has created an exciting new star – John McCrea – who takes the title role. The raving for McCrae is spot on, his stage presence and voice are remarkable; when Jamie acts like a star he makes you believe he is one and, best of all, his precocity is established without betraying the character’s youth and immaturity. For Jamie is obnoxious and self-obsessed – his drag queen name of Meme Me tells that much – yet McCrea manages to make him irresistible.

The ensemble is excellent: especially Lucie Shorthouse, as Jamie’s best friend Pritti, and Mina Anwar, as logical family member Ray. That McCrea carries the show is the fault of the piece rather than his fellow performers. Seeing so much from the central character’s perspective makes the show shallow. There are other great characters here and we should see their stories rather than just have them defined by Jamie.

Although it probably won’t bother many people, this is a collection of songs by Dan Gillespie Sells rather than a real musical. But many of the songs are good, a couple are memorable, and all are well performed. Monotony almost creeps in; too many numbers are mawkish and too many are solos or duets. The lack of songs for the chorus is surprising, given the strength of the cast, and provokes a sense of talent underused.

The oddest decision comes with Tom MacRae’s book. While his lyrics depict working-class life in Sheffield well, and there are some good jokes, the dramatic stakes are downplayed. There’s Jamie’s unbelievably supportive mother (an excellent performance from Josie Walker) and tolerant class mates – just the one school bully? Jamie does face prejudice, but it never feels enough of a threat. Maybe the theatre is the right place for this kind of wish fulfilment – it certainly makes for an enjoyable show – but tension is lacking. There’s no sense of debate or argument, just a token baddy and a school teacher who comes around eventually. The ironic result is a musical with a bold statement that is welcome, but leaves little to talk about.

Until 21 April 2017

www.nimaxtheatres.com

Photo by Johan Persson