Tag Archives: Southwark Playhouse

2018

“Wasted” at the Southwark Playhouse

It’s not the fault of this strong show, a rock musical about the Brontë family, that it’s playing at the same time as another new piece called Six, which recasts the wives of Henry VIII as a pop group. Both musicals infuse history with a modern sensibility – and a lot of attitude – so maybe the more the merrier. To be clear, both shows are strong and exhibit exciting new promise from British talent, and comparisons shouldn’t be overstated as the pieces have different ambitions. But while Six is sharp and snappy, feeling like an exciting breakthrough, Wasted overreaches and comes a bit of a cropper.

The performances are all excellent. Natasha J Barnes takes the lead as Charlotte, dealing well with the clumsy flashback device of an interview and really belting out the songs. Molly Lynch is a prim and proper Anne, who also sounds great. Siobhan Athwal’s Emily, an eye-catching and committed mix of Kate Bush and Lady Gaga, proves hugely appealing. And the show has a lot of Branwell, performed with a deal of charisma by Matthew Jacobs Morgan. There’s some dissonance in the direction from Adam Lenson; it’s not quite clear how funny Wasted is supposed to be. Athwal gets a lot of laughs and Branwell is primed for them, yet the piece consistently veers towards gravity, even grimness.

There’s a great score from Christopher Ash. Heavy on rock, with plenty of passion delivered courtesy of Barnes and Lynch, with a bit of punk thrown in, Ash writes the best kind of pastiche. A comedy number for Emily recalls Kate Bush very cleverly while Jacobs Morgan’s smoother vocals are utilised well. Yet each song is just that little bit too long, too emphatic and too insistent. And Ash is not well served by the lyrics from Carl Miller, which seldom rise above the pedestrian. Miller gets a lot of information in, but there’s more prose than poetry here and attempts at humour are poor.

Tackling all four lives proves too much. It’s not that the show is too long but that Miller’s book becomes repetitive. The doom and gloom of the Brontës’ lives takes too much of the first act. And then they die. Fitting in a couple of songs about their work along the way is probably essential (although these are the weakest numbers). Presenting Branwell’s death as so literally a the result of his sisters’ success, then Emily’s collapse because of cruel critics, proves frustrating. Trying to tie all this together is the title – that the family saw their lives as wasted in one way or another – which isn’t quite enough. The show itself couldn’t be described as a waste in any way. But several ideas need reconsidering to give its subjects, and the talents of its cast and crew, a proper outing.

Until 6 October 2019

www.southwarkplayhouse.co.uk

Photo by Helen Maybanks

2018

“Bring It On” at the Southwark Playhouse

Part of an exciting summer season, the British Theatre Academy has chosen this latest musical production wisely. A high-school drama about cheerleading seems just a sensible pick. But add the name of Lin-Manuel Miranda and you should, rightly, attract a wide audience. In fact, there are no slouches behind this show: music and lyrics also come from Tom Kitt and Amanda Green, the book is by Jeff Whitty of Avenue Q fame. Given such a roster, this is a five-star show that demands respect for being firmly aimed at a younger crowd while still appealing to all.

From the Academy’s point of view, Bring It On also serves as a great showcase for the young talent it nurtures. Even the immaturity of some voices is easily excused. Under the vigorous direction and ambitious choreography of Ewan Jones, the energy and professionalism of all is admirable.

Robyn McIntyre plays Campbell, a hugely demanding role that really is the lead as she guides the show from start to finish. Forced to change schools suddenly, Campbell leaves her old friends (strong comedy parts for Isabella Pappas and Clair Gleave) for a poorer neighbourhood. The move is masterminded by her nemesis Eva (think ‘All About’ Eve Harrington) whose great number Sydnie Hocknell makes the most of. Now the former most popular girl in school has only Bridget for company – a role Kristine Kruse makes a delight – but she was just the team mascot… until now. The stage is set for plenty of self-development.

Campbell catastrophises as only a teen can, and a good deal of fun is had over the perceived high stakes of student life. The new school, complete with cleverly handled differences in teen argot, has no cheerleading culture. Turning this around, with the aim of winning a coveted championship, creates new friends including Danielle, played with star style by Chisara Agor. It won’t be a surprise to see many of this cast go on to have successful careers, but I would put money on seeing Agor again soon.

The pop songs here are good enough to be chart toppers and impressive in their variety. The lyrics are bright and frequently bold. The story itself, based on a movie, is predictable but fun. The sentimentality, updated with a discussion about self-esteem, manages to be sincere. There are some important injections of realism, mentions of race and privilege, that add great power. And a lovely twist at the end elevates the show into a real triumph.

Until 1 September 2018

www.southwarkplayhouse.co.uk

Photos by Eliza Wilmot

2018

“For King and Country” at the Southwark Playhouse

Dilated Theatre’s production of John Wilson’s 1964 play is timely in two ways. The story of a soldier on trial for desertion, it’s a thought-provoking commemoration of World War I during this anniversary year. And, since hindsight tells us many such cases were surely victims of PTSD, staging the play at a time when awareness of mental health is increasing means that a pretty standard court room drama provides input into a topical concern.

The play stages a conventional legal battle, but one that is well written and that director Paul Tomlinson does justice to, with some flashbacks of fighting to inject energy and well-used music. Extra tension comes as defence lawyer Lieutenant Hargreaves plays the “dangerous game” of defending Private Hamp, who left his post, although he has no explanation of why. Will the case save a life or set a precedent that will damage the Army and the war effort?

The lead roles make excellent showcases. Lloyd Everitt is the perfect English gent as the sensitive advocate with a stiff upper lip. And Adam Lawrence, who plays Hamp, carries off the tricky job of making him believable. There can’t be many people so incapable of lying. There’s a fine ensemble, each of whom Tomlinson gets solid work from, and just enough nuance for each character.

One thing that is different about the piece is the role of religion, with faith a questioning force for good that matches Hargreaves’ more secular viewpoint. Indeed, religion takes over, becoming a genuine moral compass that orientates the play. It’s a lot for Eugene Simon in the role of the Padre to shoulder, but he puts on an impressive show, adding plenty of emotion to the arguments and power to the text’s most original feature.

Until 21 July 2018

www.southwarkplayhouse.co.uk

Photo by Alex Brenner

2018

“The Rink” at the Southwark Playhouse

While any show from John Kander and Fred Ebb should earn a crowd, the draw for Adam Lenson’s revival of their 1984 musical is the casting of Caroline O’Connor. ‘Direct from Broadway’, as they say, Anglo-Aussie O’Connor is the real deal: a powerful voice, great acting skills and incredible stage presence. Trust me, don’t miss her.

Both music and lyrics for the show hold their own against more famous works such as Chicago or Cabaret. The plot is simpler – a mother and daughter, Anna and Angel, fighting over the family business of a boardwalk roller-skating hall – wonderfully condensed in Terrence McNally’s book. As the action goes back and forth in time, the estranged women catch up on each other’s lives and revisit their shared history, seeing events from each other’s perspective. The skill in song-writing is astounding: take Angel’s All The Children In A Row, which narrates the search for her father, a death, a birth and hippiedom in one number. Big themes and psychological insight are present and satisfying throughout, covering love, loss and even economics.

Lenson shows admirable confidence in the show’s strengths, never overstating its melancholy overtones and allowing the drama to unfold with a careful eye on nostalgia. The production deserves a bigger home, but the staging and Fabian Aloise’s choreography impress… especially when the roller-skates arrive!

O’Connor is more than capable of carrying the show – she could probably hoist a great deal more. But it should be stressed that she doesn’t have to as a capable team backs her up at every moment. There’s strong work from Stewart Clarke as her husband and Ben Redfern as the childhood sweetheart who waits around to marry her. Co-star Gemma Sutton makes the most of some wonderful numbers and never shies away from her role’s less loveable characteristics. She convinces as a young child, rebellious teenage and angry adult, retaining an equal vulnerability throughout. The Rink is a show full of thrills, emotional and intellectual, and the chance to see a double act this good means you should really get your skates on to see it.

Until 23 June 2018

www.southwarkplayhouse.co.uk

Photo by Darren Bell

2018

“The Country Wife” at the Southwark Playhouse

Two mannequins dressed Restoration style adorn the stage at the start of this production of William Wycherley’s 1675 play. The dummies are a nice nod to the original, as Morphic Graffiti’s Luke Fredericks and Stewart Charlesworth move this story of cuckoldry into the 1920s. Charlesworth’s costumes make it all look gorgeous and the stage is filled with a cast of bright things, young and old. A larger aim, to make the piece feel relevant, may fail, but this is a well-performed and spirited effort.

Anti-hero Harry Horner poses as a eunuch to abuse women (it’s explained… kind of). Eddie Eyre, who takes the role, deserves a lot of credit for making this misogynist who “hates women perfectly” tolerable. Richard Clews, Sam Graham and, conspicuously, Daniel Cane play a trio of fools about to be betrayed and there’s enough humour in their delivery to get over a lot of unpleasant behaviour… although it’s a close call. Special effort is made to balance the sexes, almost despite the text itself. As the titular character, notable for her stupidity as much as her honesty, Nancy Sullivan does a good job, while on the other side of the town/country divide Siubhan Harrison is a suitably sophisticated girl about town. There are problems with the rhythm of the lines – some actors become stuck and the resulting delivery is monotonous. But the cast does well with the wit and raillery – which are great fun – and the theatrical asides (bravo to lighting designer Sam Waddington).

The adaptation itself is credible. With his direction, Frederick shows a keen appreciation of the comedy. There are fake orgasms aplenty and more than enough innuendo, but the production seems to labour under the impression that the audience is unaware that Restoration comedy can be bawdy. Crude touches fail to shock and too many jazz cover versions of contemporary numbers slow down the action. The result is a theatrical climax that doesn’t come soon enough. The impression is of a production that’s a little desperate and lacks confidence in the play itself. It’s a shame, given the talent and effort behind it all.

Until 21 April 2018

www.southwarkplayhouse.co.uk

2018

“Angry” at Southwark Playhouse

Courtesy of the estimable playwright Philip Ridley, these six monologues make for an inimitable night of theatre. There may well be a theme to Angry – it isn’t rage as such, since the emotions we watch and experience are legion, but what really unites each scene is startling writing and superb acting.

The monologues range in subject matter and the characters are diverse. At first, the audience is harangued and confronted by inexplicable fury. Next there’s an upbeat self-motivation speech. The language is poetic, with an ear for contemporary slogans. Both scenes urge us to “participation” – demanding responses from us with disconcerting direct addresses. But it’s Ridley’s magical imagination and skill at story telling that draws us in, taking us next into a dystopian future of bombs, riots… and severed heads on a dancefloor. From a first sexual encounter, to the memories of a character about to die – all human life is here. The imagery is vivid, the humour pitch black and the emotions visceral.

Bringing such accomplished scripts to the stage, director Max Lindsay creates an intense atmosphere from the moment an audience enters. The two actors pace around a shallow pit of a stage – the only time they are together – ready for confrontation. Lindsay has given the text the close study it deserves: every line is considered and, as a result, the performances are flawless. From near constant shouting (let’s not forget how technically difficult that is), there’s masterful comedy and emotions turning on a word. And knowing that both actors, Georgie Henley and Tyrone Huntley, learn it all and then alternate in performance, is quite simply breath-taking. It’s hard to praise this show enough.

Until 10 March 2018

www.southwarkplayhouse.co.uk

2017

“Mrs Orwell” at the Southwark Playhouse

Tony Cox’s play, a sell-out at the Old Red Lion Theatre, should enjoy continued success with this transfer south of the river. A careful mix of literary biography and period detail, it’s a calm and stately piece, with Jimmy Walters’ direction adding to the air of polished professionalism.

As George Orwell lies dying in a far from down-and-out hospital room, he declares his love for the young and glamorous Sonia Brownell. The proposal is that she becomes his “literary widow” as much as wife and, to the quaint surprise of all, she accepts.

Orwell’s eccentricity is utilised for entertainment. With the exception of a brief Marquis de Sade moment it’s all endearingly old-fashioned. And there’s masses of name dropping fun as Lucian Freud draws Orwell’s portrait and starts an affair with Sonia. Freud makes a lovely cameo for Edmund Digby Jones who doesn’t hold back on the Bohemian flair – all the better as a foil to “Grumpy George”.

Cressida Bonas takes the title role, while Peter Hamilton Dyer as Orwell is really the focus. His is a careful study – his depiction of tuberculosis impressive, while conveying insecurities, intelligence and flashes of rage. The perfectly cast Bonas feels like a natural in the part – you can easily imagine her at the Café Royal. It’s a shame we run out of time for Sonia’s character to develop. What she’ll do as Orwell’s executor is full of dramatic potential.

Disappointingly, the play falls apart at Orwell’s death. There’s a bizarre rant from his publisher (played by Robert Stocks), left sweating in the scrabble to send us away with some facts. It’s a clumsy lapse of confidence to end a pleasantly nostalgic and convincing glimpse at literary genius in a bygone age.

Until 23 September 2017

www.southwarkplayhouse.co.uk

Photo by Samuel Taylor

2017

“Little Pieces of Gold” at the Southwark Playhouse

This night of new writing produced by Suzette Coon is a great chance for future star spotting. There are nine up-and-coming writers, not forgetting the directors, and 23 actors helping them out. It’s an exciting testament to the creativity and talent of the theatre scene.

Interestingly, the first three pieces all had a connection to the justice system. Abraham Adeyemi’s subject was a post-murder scene, Rachel Archer’s a court-enforced mediation, but the one that stood out was by Tatty Hennessy as it switched from laughs to drama effectively and had a strong performance from Louisa Hollway. And more good comedy with Sid Sagar’s The State We’re In: a multi-racial flat share scenario that raised risqué questions and benefited from a strong quartet of performers, including Leila Damilola as a clueless representative of the Home Office.

After the interval there were three plays centred on young love and college, the funniest being the evening’s finale, Vegan Visiting by Micah Smith, which showcased the talents of its director, Jaclyn Bradley. The most interesting pieces were set in the world of work. Corinne Salisbury’s Girlboss imagined a disciplinary hearing and had an impressive amount to say – well done to director Georgie Staight for handling the thought-provoking content. The boldest writing was Tom Collinson’s Percy –about an older employee facing obsolescence, which benefitted from Mike Hayley’s excellent performance.

 Little Pieces of Gold is an event to add to the calendar. And, given the size, one that’s a little intimidating to write about. It isn’t a competition, thankfully, but searching for stand out is irresistible. My critic’s fingers are crossed for those I’ve highlighted. Apologies to those left out and here’s the sincere hope that they prove me a fool.

www.littlepiecesofgold.co.uk

2017

“A Lie of the Mind” at the Southwark Playhouse

Sam Shepard’s award-winning 1985 play is a slow-burning, haunting family drama. After a brutal act of domestic violence, Beth is left brain damaged and her husband Jake unhinged. Their families, aiming to care for them, become increasingly irrational, unlocking the play’s momentum and considerable dramatic power.

Gethin Anthony and Alexandra Dowling acquit themselves well as Jake and Beth. These are difficult roles and the temptation for shrillness isn’t fully controlled. Shepard is averse to sentimentality and makes it a struggle to empathise with these damaged figures. Nonetheless, Anthony and Dowling convey their characters as repositories of cumulative pain.

Gethin Anthony, Mike Lonsdale and Alexandra Dowling
Gethin Anthony, Robert Lonsdale and Alexandra Dowling

The couple’s siblings have problems too. Initially overshadowed by Jake’s instability, his brother and sister, played by Michael Fox and Laura Rogers, do well to build their roles, acting as foils for the increasing oddity around them. Meanwhile, Robert Lonsdale gives a cracking performance as Beth’s consoling and then avenging brother. Caught up in a maelstrom of metaphor, Lonsdale gives the role clarity.

Best of all are the older characters, portrayed with conviction and welcome humour by a skilled trio so that the play’s dated gender relations create fewer snags here. Shepard is too sophisticated to blame the parents for the sins or woes of the children, but a legacy of emotional repression is clear. Nancy Crane and Kate Fahy play the mothers – far too keen to have their kids back at home and infantilised. John Stahl gives a strong performance as Beth’s irascible father, whose tirade against ageing is one of the play’s finest moments.

Marshalling all this – and it’s a lot – is James Hillier’s direction. Some of Shepard’s dark humour isn’t transmitted and a firmer hand on histrionics with a little more work on accents would be welcome. But Hillier has created a stylish show, aided by live music from James Marples. The production appreciates Shepard’s extremes, giving his Americana a back seat to examine the topical subject of mental health. It’s a solid revival of a fascinating play.

Until 27 May 2017

www.southwarkplayhouse.co.uk

Photos by Lidia Crisafulli

2017

“Promises Promises” at the Southwark Playhouse

The credentials for this musical are impeccable: a book by Neil Simon, with music and lyrics fromBurt Bacharach and Hal David. That should be enough to get you booking tickets. The endearing, nostalgic piece follows the adventures of New Yorker Chuck, who lends his flat to his bosses for their extra-marital affairs, while his own love life flounders.

Adapted from the 1960 movie The Apartment, it’s the script that dominates. There’s a lot of Simon here – no bad thing – playing with cynicism, packing in jolly touches and good plotting. If the songs don’t fuse into a score in the manner that makes some musicals heavenly, they are great numbers, with a trip to the back catalogue sublimely incorporated as an extra treat.

Paul Robinson
Paul Robinson

The smooth sounds are well performed and Bronagh Lagan’s direction has a calm pace that’s appropriate – disguising how much work her dozen cast members are doing – so the show feels like relaxed fun. There’s swinging going on (it’s the Sixties, after all) but, despite the Mad Men vibe, evoked especially well by Paul Robinson as the arch philanderer Sheldrake, the tones are pastel and the atmosphere oh-so cool.

Gabriel Vick and Alex Young
Gabriel Vick and Alex Young

Darker shades are present and handled well by leading lady Daisy Maywood, whose character Fran is driven to attempt suicide. The sobering moments are a little jarring and stem from the sexism within Promises Promises itself. Women are, literally, backing singers, playing secretaries and ‘pick ups’ (providing a blissful cameo for Alex Young). And the office Christmas party would give an HR department a fit. Lagan deals cleverly with the unsavoury middle-aged executives, presenting a collection of more sad than mad men that we can laugh at. It’s a sensible move, and the cast makes it work for them.

The saving grace is our heroine, at times displaying an emotional depth that overwhelms the show – welcome nonetheless – and Maywood’s acting is as strong as her powerful voice. The equally impressive Gabriel Vick, playing Chuck, joins her. Ostensibly, this is his character’s story. He’s a “puny” figure that Vick makes winning with perfectly pitched direct addresses to the audience. Fantasy conversations only endear us to him further. It’s the two leads who make the show, culminating in a gorgeous duet that is the fulfilment of all the talent on offer.

Until 18 February 2017

www.southwarkplayhouse.co.uk

Photos by Claire Bilyard