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Bear with me: Sun Bear @ParkTheatre

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If The Light House is an uplifting tale of survival, Sarah Richardson’s Sun Bear gives a contrasting take on this. Sarah plays Katy. We’re introduced to Katy as she runs through a list of pet office peeves with her endlessly perky coworkers, particularly about coworkers stealing her pens. It’s a hilarious opening monologue that would have you wishing you had her as a coworker to help relieve you from the boredom of petty office politics.  But something is not quite right in the perfect petty office, where people work together well. And that is her. And despite her protesting that she is fine, the pet peeves and the outbursts are becoming more frequent. As the piece progresses, maybe the problem lies in a past relationship, where Katy had to be home by a particular hour, not stay out late with office colleagues and not be drunk enough not to answer his calls. Perhaps the perky office colleagues are trying to help, and perhaps Katy is trying to reach out for help. It has simple staging
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DIY whodunit: Murder, She Didn’t Write @lsqtheatre @degreesoferror

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Improvised comedy can be hit or miss, but Degrees of Error might be onto something with this do-it-yourself whodunnit. It’s currently at the Leicester Square Theatre on the last Sundays in February, March and April. It could be described as what Agatha Christie might have written if she hit the sherry a bit too much.  Audience suggestions set the scene for the murder and the murder weapon. One person in the audience gets to choose both the murderer and the victim by picking their name from a deck of cards.  The Leicester Square Theatre with its range of bars inside the theatre sets the scene to loosen up the audience with ideas. It seems to work. Much is up for grabs, in this unscripted murder mystery. Not only is the victim unknown until part way through the show to the cast, but so is the murderer.  The end result of this in February was it was at a hen night when the future Bride was murdered by her friend. The murder weapon was a wet tea towel.  It’s fascinating and hilarious to w
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Mad as hell and serving Cava: Derailed @Ovalhouse

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Sometimes the best laid plans go awry. But when life gives you lemons make lemonade. Or in the case of Derailed at Oval House , make gazpacho. And serve Cava.  The premise is that in the post-Brexit UK, they are heading back to Spain. But rather than leave downtrodden and defeated, they’re going to stage the mother of all leaving parties.  The music blares, the party poppers fly and the party begins. The piece opens with a series of photos from Patricia and Mercè‘s 12 years living in the UK. With the grey skies and dismal towns you start thinking Brexit wasn’t the only reason for their decision to leave. And with a series of improvised scenarios you’ll find yourself live tweeting a petition, having a long hug with a complete stranger. Or wearing an unconvincing wig holding a banner protesting something. Along they way they chart some of their life in London and in Spain.  The premise of Patricia Rodríguez and Mercè Ribot‘s work is to use physical theatre and improvision to create somet
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Carmen follies: Carmen 1808 @TheUnionTheatre

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Carmen died twice for me last week. The first time at the Royal Opera. Barrie Kosky’s black, minimalistic yet infuriating production of Carmen has large chunks of plot read to you in French. The effect stops the action dead and bores the audience to death.  Then there was this Union Theatre production. Here in Carmen 1808, Carmen’s working for the resistance and standing up to the French during the atrocities of the Peninsular War. But it’s a passionless 90 minutes of political posturing.  The inspiration has been taken from the Goya’s Los fusilamientos del tres de mayo. There’s probably a great story about Goya and his transition to his black period. But it would have been nice to leave Carmen out of all that.  Bizet’s Carmen is sensual and sexy. Sexual politics not hard politics is what’s at stake. Here it’s given a flat musical treatment that feels part Les Miserables and part Allo Allo. Gypsies join the partisans to support the king, the ladies work in a cigarette factory (despite
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Love and Marriage: Mad As Hell @JSTheatre

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The life of Peter Finch is forever intertwined with his final film role in Network. Being ”mad as hell” is the topic of this play, Mad as Hell currently showing at the Jermyn Street Theatre .  In Network, Finch plays Howard Beale. He transforms from a mild mannered news anchor at a struggling television network to a modern day prophet. Tired of reporting the bullshit of the world he urgess his viewers to get “mad as hell”. The story has enough relevance today to warrant a exciting reimagining at the National Theatre. Here writers Adrian Hope and Cassie McFarlane, imagine the character Finch plays has many parallels with his own life. A hard living angry man tired of the bullshit that goes with being a celebrity. He finds solace with a woman who helps him escape and live a normal life. It’s also a sensitive tale about a mixed race marriage in a time of tremendous change.  McFarlane took inspiration from her mother’s retelling of the story. This includes the Jamaican reaction to Finch’s
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Sweet smells: Cyril’s Success @Finborough

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The Finborough Theatre , celebrating its 150th year in 2018, is presenting a series of plays also first produced in 1868. This time around it’s Cyril’s Success by H.J. Byron. It’s a funny semi-autobiographical take on marriage and life at the theatre from a resident playwright. Well, resident in nearby Brompton Cemetery.  Byron may be largely forgotten today, but he was big in the mid-Victorian era. Here the fun in this piece comes from making much out of a simple premise of mistaken identity and the vagaries of marriage.  Cyril (Tim Gibson) is at the peak of his fame and power as a playwright, novelist and newspaper writer, when his wife (Isabella Marshall) leaves him. She read a letter sent to one of Cyril’s friends thinking it was for her husband. It all ends well of course. But not before Cyril has a string of flops, falls ill and briefly ends up living a life of bohemian squalor.  Stirring up the insanity are two supporting characters. Susan Tracy as the husband-hating Miss Granne
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Once more without feeling: Again @Trafstudios

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The nuclear family seems to be a little unstable in Again. Presented by Mongrel Thumb , Stephanie Jacob’s intriguing new play explores the underbelly and soft belly of family relationships. Just as you think everyone’s coming together they explode into rage. Or crack a bad joke. And then they do it all over again. But with less rage, more rage or acceptance. It’s currently running at Trafalgar Studios. Presented as a family reunion after a period of estrangement, nothing is what it seems to be. Scenes start and then restart as multiple perspectives play out. Is it the mother’s wish, the son’s wish, the father or the daughter? In the end you can’t be sure any of it happened. But slowly it pieces together a story of fractured family determined to get things right. Or get their own way.  Tom (Chris Larkin) has deserted his wife Louise (Natasha Little) for a younger woman. Their son (Charles Reston) spends most of his life in the library and studies poetry. Their daughter (Rosie Day) is a
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Bleak house: The Moor @ORLTheatre

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The scene is set for a moody mystery when you enter the Old Red Lion Theatre to see The Moor. It’s a lmost as if you can feel the peat bog as you take your seat.  A girl is bent over a chair as you enter the theatre. Is she crying? Has there been a crime? Bronagh (Jill McAusland) and her boyfriend Graeme (Oliver Britten) go out for a party across the moor. The next day they discover a man they met that night is missing.  From the outset you understand that Bronagh is terrified of her possessive and abusive partner. But she is also grieving over the recent death of her mother, and suffering post-natal depression.  Did a man disappear and did her boyfriend have anything to do with it? McAusland is engaging as the trapped and confused Bronagh.  Amongst all her dreams and mad stories about elves, is something sinister really at play? As her account of events becomes confused and contradictory, you’re not sure if she saw or took part in a potential crime.  Unfortunately attempts to get to t
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