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Showing posts from April, 2018

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You can’t stop the boats: Sorry We Didn’t Die At Sea @ParkTheatre

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Sorry We Didn’t Die At Sea by Italian playwright Emanuele Aldrovandi and translated by Marco Young, has made a topical return to London at the Park Theatre after playing earlier this summer at the Seven Dials Playhouse. In a week when leaders and leaders in waiting were talking about illegal immigration, it seemed like a topical choice . It also has one hell of an evocative title. The piece opens with Adriano Celantano’s Prisencolinensinainciusol , which sets the scene for what we are about to see. After all, a song about communication barriers seems perfect for a play about people trafficking and illegal immigration. One side doesn’t understand why they happen, and the other still comes regardless of the latest government announcement / slogan .  However, the twist here is that the crossing is undertaken the other way. People are fleeing Europe instead of escaping war or poverty in Africa or the Middle East. It’s set sometime in the not-too-distant future. There is a crisis causing p
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Still got it suckers: Chicago @Phoenix_Ldn

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Corruption, greed and murder never seem to go out of style in Chicago. The Kander and Ebb musical returns to the West End’s Phoenix Theatre after a six year hiatus.  It’s pretty much the same show that burst onto the scene in the late 1990s. Back even though it was a revival people saw it resonate with the trial of OJ Simpson. Twenty years on the President of the United States is purportedly a urophiliac. Hookers and porn stars paid off as fast as a the National Enquirer can catch and kill a story.  And you no longer have to be good or competent to rise to the top. Everything old seems new again.  And this show is still a hell of a ride. With the sexy costumes and choreography “in the style of Bob Fosse”, the show oozes sex, rhythm and sensuality.  If you’re not familiar with the show other than the gelded movie with Richard Gere and Catherine Zeta-Jones you’re in for a treat.  If you’ve seen it all before you can lie back and enjoy the performances by Sarah Soetaert and Josefina Gabr
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Two women in a boat: previewing The Gulf @TristanBates

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Currently running at Tristan Bates Theatre is the European Premiere of The Gulf by Audrey Cefaly. An exploration of the challenges facing all relationships. Including LGBTQ+ ones... Stranded on a boat together on a fishing trip in Alabama, two women are forced to confront their differences. Louisa Lytton and Anna Acton feature. The Gulf made its world premiere as a short play in August 2010. It’s now been developed into a longer piece that premiered in 2016. It received the 2016 Edgerton Foundation New American Play award and was nominated for The Charles McArthur Award for Outstanding new Play.  Directed by Matthew Gould, The Gulf continues until 5 May at Tristan Bates Theatre.
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Miss Atomic Bomb: The Bekkrell Effect @RoundhouseLDN #CircusFest

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French circus troupe Groupe Bekkrell bring their show to the Camden Roundhouse, The Bekkrell Effect. It’s part of CircusFest 2018, which is celebrating 250 years since the invention of the modern circus. Using the discovery of radioactivity by Henri Becquerel, it’s an explosion of movement, working together and apart. They’ve created a world where things decay and disintegrate, including the set... The strength of the piece comes from the unique staging. It starts off as a bare stage with a few things disassembled. There are cables, strings, ropes, boards. Performers Fanny Alvarez, Sarah Cosset, Océane Pelpel and Fanny Sintés undertake rope, Chinese mast, tightrope and tumbling. And they bring all the stage props toghether while performing. Either together or alone. Accompanied by a pulsating soundtrack or the performers own grunts, it’s both funny and fascinating. And they manage to produce some stunning scenes, including for the finale where everything seems to be teetering on the b
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Cough medicine: Quiz

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You don’t often expect to go to a show where coughing during the performance is essential part of it. James Graham’s Quiz at Noel Coward Theatre elevates a minor moment in history into a melodrama fit for television. The story is around the trial of Charles and Diana Ingram who were convicted of trying to defraud the quiz show “Who Wants To Be A Millionaire” in 2003. Mostly through a series of well-timed coughs. Cameras roll, music roars, the mob votes on little gizmos. There’s even a nod to the humble pub quiz as its origins. It is fun. But it’s also a night that leaves you thinking about another quiz show. Pointless. The production is drunk on the television gimmicks it’s trying to critique. The glamour of television, instant polls and dazzling lighting.  All come at the expense of character development and a convincing argument about confirmation bias. You get a chance to vote on whether they’re guilty twice. Once before interval and once at the end. It’s set up to get people to be
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Keep it gay: Twang!! @TheUnionTheatre

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Any time of the year you can watch Oliver! on television. Lionel Bart’s musical take on the tale of Dickens made him a fortune and is memorable for its music and a slick movie musical. A few years later under the influence of alcohol and LSD he wrote Twang!! A notorious and expensive disaster than ran for only 43 performances, it would cost him his fortune. But rest assured the Union Theatre hasn’t resurrected a curiosity for the benefit of musical theatre aficionados. As amusing in its own way that would be. This Twang!! is new. Or at least with a story that makes some form of sense. With a new book by Julian Woolford and updated orchestrations by Richard John, it’s a chance to see a lost Lionel Bart musical. The premise is that after years of robbing from the rich and giving to the poor Robin Hood has lost his twang. It’s a bit like the Middle Ages equivalent of mojo. It’s now his merry men who do most of the heavy lifting. Meanwhile Much, the millers son, has run away from home. He
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Pass it on: Reared @Theatre503

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L iving with your mother in law and a daughter who’s pregnant sets the scene for some tough Irish mothering in Reared. A play by John Fitzpatrick that sets inter-generational conflict as both a tribute and a tribulation. And no matter how hard you fight it, you’ll always end up like your mother. Or in this case, your mother-in-law. It’s currently running at Theatre 503 . Eileen (Shelley Atkinson) is worried about her mother in law, Nora’s increasing forgetfulness. Could it be a sign of dementia? She’s also worried about her daughter Caitlin (Danielle Philips). Caitlin’s pregnant and putting her her dreams of drama school (or at least a shot at university) on hold. They’re just about managing and living under one roof as it’s Nora’s home. For now.  Then there’s Eileen’s ineffectual husband Stuart (Daniel Crossley). And Caitlin’s best friend Colin (Rohan Nedd).  But the men are there for the comic relief. Through a series of monologues and scenes, Fitzpatrick creates a layered story abou
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Those were the days: Plastic @ORLTheatre

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Even if the subject matter and setting is a bit grim, there’s a lot to like about Plastic. Kenneth Emson’s gritty and evocative play about growing up in Essex. School can be the best of times and the worst of times. And here is a tale about school life that defines and haunts two characters in the years to come. It’s currently playing at the Old Red Lion Theatre . Coming of age can come quickly. Girlfriends, peer pressure, schoolyard beatings. And football of course. The piece mixes drama and performance poetry to tell the story of young people forced to grow up.  There’s Lisa (Madison Clare - making her professional debut) with her blazer and bold personality. Kev (Mark Weinman) the former captain of the football team who scored the winning goal in the final, but who can’t seem to make much of a living now. Ben (Thomas Coombes) who always got beaten up and now’s an accountant. And his loyal mate Jack (Louise Greatorex) who will stick up for him no matter what. The cast work well to br
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Privileges and power: White Guy On The Bus @Finborough

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It’s always grim in Philadelphia in White Guy On The Bus. It’s a sharp, insightful and unsettling piece to remind us that race, power and inequality loom large over everything that happens in America. Or even here. It’s currently playing at the Finborough Theatre . It opens with what appears at first to be a series of lectures among two white couples about unconscious bias and latent racism. They’re on the lawn of a lovely house in Philadelphia. It seemed as topical as the aftermath of a recent Quentin Letts review . But that’s just a starter to what writer Bruce Graham really wants to tackle. The piece zeroes in on the divide in Philadelphia between low income blacks and the well-off white communities. The two remain separate and unequal. Philadelphia may be edgier than other parts of America, but it’s a story that applies anywhere. London too given the growing incidence of gang violence.   The play focuses around Ray (Donald Sage Mackay - in his London Theatrical debut). He works in
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Chats and swipes: Love Me Now @TristanBates

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Casual encounters are in the spotlight in Love Me Now. It’s a new play by Michelle Barnette playing at Tristan Bates Theatre . Not so much about love gone wrong but about the young and the loveless. There are no names in this piece as three characters move in and out of each others lives with sex and idle chatter.  Set over a series of hookups, the main focuse of the piece is on a  woman (Helena Wilson) and her regular date (Alistair Toovey). Much of the piece is set in and around the bed. Before and after sex. She wants something more from the regular encounters. He’s more blow and go. And her attempts to get equal treatment only lead to disaster.   Later she finds another man (Gianbruno Spena) who says the right things but it turns out to be the same man in a different package. Along the way the hedonism and partial nudity are at times hilarious. Wilson is engaging as the frank and seemingly carefree woman with one-liners about blowjobs.  Toovey is convincing as a fit young man who’s
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