Paul in London

Family ties are strong and stifling in The Daughter-in-Law. It’s a snapshot of working class life against the backdrop of the 1912 miner’s strike. It’s expertly presented in the downstairs space of the Arcola Theatre . It feels as if you’re in the mining cottage as an accidental witness. The performances, drama and intimate space will have you transfixed throughout.  DH Lawrence’s drama, written in 1913, is set in a Nottinghamshire mining town. It’s a world where money is crucial for survival. There are those who have it, those striking for better conditions and those who are bargaining for more of it.  The “daughter-in-law” in question is Minnie (Ellie Nunn). She is a  somewhat independent woman who by chance inherited £100. She’s married to Luther (Harry Hepple) after asking him. After less than a few months marriage, Luther seems to resent his wife’s economic independence to the point that he’s ambivalent to her existence. But it’s his relationship with another woman that sets in tr

The singing is always the key to Popup Opera’s touring operas in small or unusual spaces. Along with the chance to see some overlooked or minor pieces by famous composers. Again the company does not disappoint with its Mozart double bill: Der Schauspieldirektor and Bastien Und Bastienne. The first half of the piece, Der Schauspieldirektor, is essentially half an hour of music stretched out to a mildly amusing farce. Tradition has it that the dialogue around this piece is rewritten. Here the scenario is duelling auditions between two sopranos when a struggling opera company can only afford one. It’s an amusing premise that becomes a bit silly in its execution. But there’s still some serious music making. Particularly when older diva Sarah Helena Foubert and younger diva Hazel McBain spar in a thrilling duet. In the second half we have Bastien Und Bastienne. Both consult a relationship guru (updated from a soothsayer) when one suspects the other is having an affair. After a series of s

Musicals are usually about a love story. In The Biograph Girl, the love story is about the love of going to the flickers and the people who made them. The flickers were what people called the short silent movies. Before they started treating the medium as a form of art. And a source of serious money making. The show is having its first professional production in nearly forty years at the Finborough Theatre . While there’s much love for the subject, a musical covering the early years of film is a tad ambitious. Covering the stories of Lilian Gish, Mary Pickford and D.W. Griffith doesn’t allow much time to explore them in any detail. Or any of the peripheral characters that surround them. People come and go. Only by reading the programme notes do you get a sense of who they were. And while the musical numbers are fun, they also tend to slow down rather than advance their stories.  It’s a minimalist production too with its plain white walls, a few chairs and an electric piano. It’s a pity

If there is one thing to admire about H.R. Haitch, it is it’s impeccable timing. Opening at The Union Theatre on the week of the Royal Wedding could confuse people for thinking this musical comedy is a topical satire. Alas, it’s not. The piece premiered in 2015 as a workshopped performance. Three years on, with its convoluted plot, songs that stop the show dead and running gags that fall flat... It could do with a few more workshops. For reasons that are unclear it’s set in a parallel universe in 2011. Mouthy common barmaid Chelsea (Tori Allen-Martin) meets secret prince Bertie (Christian James). They fall in love and plan to open a catering business. Until duty calls, and for reasons that are also unclear, he has to reveal his identity. It’s hard to understand the romance. Chelsea comes across as a motherly figure to Bertie. But I guess it takes all sorts. She also says more about why she hates the royal family than anything else. But Tori Allen-Martin makes the most out of underwrit

Living in the country never looked better than in the sumptuous production of Nightfall. This play about life in rural Hampshire is currently playing at the Bridge Theatre . Desginer Rae Smith has created a farm backdrop that is beauty to behold even before any of the actors speak. Which is just as well since the night I saw it the show was delayed as one of the actors was caught in a very urban predicament: delays on the London transport network. Chis Davey’s lighting also evokes the sunsets over Hampshire. But looks are deceiving as nobody wants to be there. Dad’s dead and left a pile of debt. The son, Ryan (Sion Daniel Young) is trying to make the farm work by siphoning off oil from a pipeline that cuts through the property. His best mate Pete (Ukweli Roach) is out of and jail helping him with his criminal enterprise.  The daughter, Lou (Ophelia Lovibond) is drifting in and out of jobs and a relationship. And mum (Claire Skinner) would rather just lounge about, barefoot, drinking a

Circus acts as part of the Underbelly Festival on the Southbank are always a highlight of the programme. Adding bathtubs, water and a hint of nudity is definitely a winning formula. And it makes for good clean fun (this show is aimed at all ages). Soap which originated in Germany has been touring around the world. But for the first time it’s in the round in the Spiegeltent. The effect pushes you right up close to the action. So close that you can see the muscles tense and flex on the performers. The cast run through a variety of bath-time themed circus feats. There’s Vanessa Alvarez as a foot juggler of bath towels and guitars. Anton Belyakov thrills with handstand on what appears to be a very slippery Villeroy and Boch bathtub. Lena Ries contorts within one. Adem Endris juggles on top of one. Daniel Stern rises above one on straps. And Moritz Haase wows with a thrilling Trapeze finale as water rains down from above. Marie-Andrée Lemaire is on hand for comic relief. And Jennifer Linds

It’s a whirlwind life for Gracie. The title character in this piece who is its storyteller and survivor. She was born into a polygamous religious cult, taken across the US border at the age of eight after her mother became the wife of an elder there. The eighteenth wife. As she reaches fifteen she hopes for a husband who is sweet and kind. And not too old. But those controlling her life have other ideas.  The European premiere of Joan MacLeod’s work has been playing at the Finborough Theatre on Sundays, Mondays and Tuesdays. While it is a work of fiction, it’s packed full of evocative detail that it feels like it could be true. Especially with Carla Langley’s engaging performance in the title role. Over the course of an 90 minute monologue she moves from childlike optimism to fear and entrapment then hope following an escape.  It’s part adventure, part mundane life and part horror story. Particularly as it becomes clear of the life set out before her as part of “God’s plan”. Or rather