Paul in London

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

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

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

Songs for Nobodies starts as if it is a theatrical happening. There’s a hush at Wilton’s Music Hall as it descends into darkness. And when the lights go up there is a small, middle aged woman on stage looking somewhat meek. But soon there is an astounding transformation as she channels a range of musical greats. Mimicking their style and intonation. Starting with Judy Garland, then Patsy Cline, Edith Piaf, Billie Holiday and finally Maria Callas. It’s thrilling and bewildering.  The piece is billed as a play with music by Joanna Murray-Smith, created to suit the vocal talents of Australian singer Bernadette Robinson. The premise is that a series of “nobodies” whose lives briefly intersect with these stars. There’s the lady, Beatrice who fixes Judy Garland’s hem and the usher Pearl who becomes backup to Patsy Cline and so on.  It’s clear that Robinson has a unique talent and she holds your attention. And the production shines in Wilton’s music hall.  The faded grandeur of the venue ble

The first flicker of love, marriage and commitment are the subjects of The Lady With a Dog. Chekhov’s summer romance in Yalta is updated to 1920s Britain and France by writer and director Mark Giesser. But the performances and brisk pace capture the fantasy and romance of the story. It’s currently playing at the Tabard Theatre after a successful run at the White Bear Theatre. It opens with the lady and her (imagined) Pomeranian dog being eyed up by Damian Granville (Richard Lynson). He’s a London-based banker on holiday alone in Scotland. His plan is to get her attention by feeding the dog a few biscuits before working his charm on the lady. He’s also married but it’s a thoroughly modern one where his wife allows him to holiday alone in search of other women. But the lady Anne Dennis (Beth Burrows) is also married and holidaying alone due to her husband’s work. Jusxtaposed with their aquaintance are unhappy conversations with their real partners. Soon an attraction develops between th

What do you do when you're a successful poet accused of semitism? How do you avoid the social media storm and the calls for an apology? These are the thoughts that come in Checkpoint Chana by Jeff Page. It's having its premiere at the Finborough Theatre following a reading at Finborough's Vibrant 2017 festival. It starts with Bev (Geraldine Somerville) complaining to her assistant Tasmin (Ulrika Krishnamurti). She has to write an apology  after one of her poems sets off a social media firestorm. It’s been labelled anti-Semitic after every other recent poem of hers has been ignored. The indignity of a respected poet needing to do this is compounded by problems in her personal life and pressure from her university. But she eventually relents to making an apology, and having a sympathetic interview scheduled. She’ll even do a talk at a North London arts centre.  Somerville is convincing as a person caught up in the drama that’s part of their own creation. But often the work s

The phrase ok bye is so versatile. It can be used for a variety of endings. Some trivial some consequential. It could be full of meaning or absolutely meaningless. And this is the premise of RedBellyBlack’s intriguing show Ok Bye that concludes this weekend at The Vault festival. Based on an idea by co-creators Kate Goodfellow and Vicki Baron, they explore what it means to say goodbye in two parts. Through movement, comedy and lip-syncing dialogue they juxtapose the ways and means of saying goodbye. The first part is three estranged siblings reconnecting during the decline and death of a parent. Through movement and music they explore the transition from being a carefree child to a responsible adult. The second part is a collection of in verbatim stories about good byes to a range of things such as pets, freedom or crackpot religions. The performers mouth to perfection the most bizarre stories about saying goodbye. losing weight or leaving a fundamentalist Christian group are part