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Still here: While They Were Waiting - Upstairs At The Gatehouse

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As the song goes, time heals everything. Or as another song says, it's time after time. Yet waiting—for a moment, a minute, or even a while—can feel like a chore. In Gary Wilmot’s slightly absurd and silly While They Were Waiting, the focus is on waiting and wordplay. No opportunity is missed to find more than one meaning in what is said. A debate arises about the difference between a smidge and a whisker. There's a playful riff on how you can be here and over there at the same time, depending on your standpoint. If this piece has a point at all, it depends on what you find funny. The concept of waiting-related language is, in itself, amusing, and there is plenty to laugh about in this show. It’s currently playing at Upstairs at the Gatehouse . The premise is simple: Mulbery (Steve Furst) arrives for an appointment and is kept waiting. What the appointment is for, we are not clear about but he is waiting for a yellow door to open. Nobody answers when he rings. He’s joined by th...

Ruthless People: Ruthless - Arches Lane Theatre

Production photo

What is it about the Madoff’s that writers can’t resist writing about? Sure, it may have been the largest Ponzi scheme to collapse (so far), but there isn’t much more to explore. Or is there? In Ruthless by writer Roger Steinmann, Ruth Madoff is imagined as a wronged, gun-toting woman anchored in the past while trying to move on with her life. It’s not entirely successful but a fascinating look at life and wig choices, It’s currently playing at the theatre now known as the Arches Lane Theatre in Battersea.

Ruth Madoff, played by Emily Swain, is here wearing a wig. I thought it was an odd look until I reviewed how closely it matched the photo of her interview in The New York TimesTypically, it’s the sort of wig you might see worn by Ladies on a night out in central London, not someone who once had over $80m in assets. With Bernie in Jail and both her sons now dead - one by suicide and one due to cancer, she is setting a table for the men who have left her. And ordering pizza from the venue next door in Battersea. We’re meant to judge her for what she didn’t do, but I couldn’t get past the wig and the pizza. 


The Madoffs have had several treatments of their lifestyle over the years. There was Cate Blanchett in Blue Jasmine (directed by Woody Allen) and various other productions that borrow from some aspects of the tale. But none feel like they capture the story of rags to riches and back to rags. 

For a one-person show, the decision to add additional voices and walk-on roles doesn’t add a great deal to the proceedings. It would have been more fun (and more dramatically rewarding) to have the conversations remain in Ruth’s head.

The play asks the question, how well do you know your partner? Or your family or friends? But perhaps the real question is when you can be sure of making the right decision. Even one taken many years ago when you were younger. Ruth married Bernie Madoff when she was 18 and was with him regardless of how many infidelities or frauds he may have committed. Living without regrets is one thing, but living with poor choices is another. And given the real-life Ruth Madoff purportedly has to report any expenditure over $100 to ensure she has no hidden accounts. Given the cost of living in America, that would be a fascinating monologue. 

Written and directed by Roger Steinmann, Ruthless plays at Arches Lane Theatre until 29 June. 

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Production photos by Roger Steinmann

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