Jet Set Go!

Jet Set Go!
Take Note Theatre
Book and Lyrics by Jake Brunger
Music and Lyrics by Pippa Cleary
Directed by Luke Sheppard
Musical Direction by Candida Candicot
Jermyn Street Theatre
Closes 18th April 2009

Reviewed by Rachel Sheridan for the British Theatre Guide

It’s been a while since we’ve seen some aircraft based entertainment. Not since the reality programmes about Easy Jet and Ryan Air and does anyone remember a young Alan Cummings in the sitcom The High Life?

Jet Set Go! had its premiere in Edinburgh in 2008 and has now flown into London for a short run at the Jermyn Street Theatre – hot on the feet of the extremely well received Saturday Night. Jake Brunger’s script is not by any means ground breaking; it simply follows the lives of cabin crew on their flight to New York and back and lets the larger than life characters take over.

Jet Set Go! really is as camp as it gets and it is unashamedly so. A fantastically kitsch set transports you from economy class to the cock pit to a New York City sky line and of course a good old song and dance always ensures a gay old time.

Memorable songs include “What Do You Actually Do?” “If I Could Find A Boy” and “Cabin Fever”, however Pippa Cleary’s score whilst always fun, lacks sophistication at times. Whilst more accomplished composers will weave a repeated melody throughout various songs in a score, leaving you in no uncertain terms that all songs belong to that show, Cleary’s score lacks unity and is a tad hit and miss. However any criticisms become irrelevant when you discover that Cleary is still at university and has miraculously composed this score whilst studying for her degree. If this is the quality of her work at such a young age, the future looks very promising indeed for Cleary.

An enthusiastic cast brings this production to life with Mark Evans who was seen earlier this year as one of the finalists on Your Country Needs You stealing the show. With his good looks and powerful vocals, Evans screams leading man. His subtle performance is a breath of fresh air whilst all those around him ham it up. Of course that’s part of this show’s charm, and it does require a heightened performance from some characters and boy do they deliver. John McManus is outrageously camp as Ryan as he minces about like a true queen. Amy Coombes is delightfully entertaining as the girl from “The Valley” Hayley who’s desperate to find love. In true Gavin and Stacey style she plays on the hilarity of the Welsh accent, however the character would benefit from her toning it down slightly on occasions to allow the truth of this lonely girl to shine through as she is dangerously close to spilling over into caricature. Sadly it’s too late for Emily Sidonie as Julia from Puerto Rico whose frantic performance is as up and down as the turbulence on their plane.

This is still a new show and of course it is going to have its flaws but it’s exciting to hear a new voice emerging in British musical theatre and if this is the start well the sky is the limit.

Cooking With Elvis

Cooking With Elvis
Written by Lee Hall
Directed by John Plews
Upstairs at the Gatehouse
14th March – 19th April

Reviewed by Rachel Sheridan for the British Theatre Guide

It’s fairly rare to find an Elvis impersonator and a tortoise sharing a stage and yet here we have it in Lee Hall’s Cooking with Elvis. First staged at the 1999 Edinburgh fringe festival with a subsequent transfer to the West End Cooking with Elvis is back in London serving up a tasty treat.

Lee Hall, best known for writing the screenplay for the film Billy Elliot tells a very dark but funny tale of ‘Dad’ – a wheelchair bound “cripple” (the result of a terrible crash) who dreams of being an Elvis tribute act. Meanwhile his wife and daughter Jill antagonise each other as they struggle to cope with their inner frustrations.

I’m not sure if it’s the voice of Big Brother or Cheryl Cole on the X Factor but there is something about the Geordie accent that makes you pay attention and Hall’s dialogue in Cooking with Elvis is no different. You cannot help but be drawn into the conversations of this dysfunctional family.

Whilst the activities in this Northern household are utterly bizarre, the dialogue remains completely normal, thus making the events that unfold all the more peculiar.

It is hard to believe this Mother and daughter are related as Mam refuses to eat and drinks herself into oblivion while fourteen year old Jill finds solace in the kitchen cooking and eating everything she can get her hands on. When Mam invites her twenty-eight year old lover, Stuart, to move into the family home with her, her daughter Jill, her paralysed husband and their tortoise things go from the bizarre to the completely surreal as Stuart gets a little too close with Jill and goes above and beyond in an attempt to “help” Dad out. Not to mention the breakout Elvis moments that punctuate the piece when Dad springs to life performing various Elvis Presley songs, to which the family are completely oblivious to.

Despite first impressions this is a pretty depressing script and director, John Plews achieves just the right amount of tongue in cheek attitude. The cast expertly tread that tightrope of finding humour without indulging it. Catherine Nix-Collins in particular is superb as a troubled teenager, struggling to digest the enormity of what is going on around her and her skilful negotiation of constantly eating throughout the majority of her dialogue is to be applauded.

Cooking with Elvis has all the ingredients for a hit and lets face it, Mario Kombou is petty much the closest you’ll ever get to seeing Elvis in Highgate. Over the top costumes and a voice that has been officially endorsed by Graceland; he’s a pretty good substitute for the real thing.

Yours Abundantly, From Zimbabwe

Yours Abundantly, From Zimbabwe
Oval House – Downstairs Theatre
Directed by Annie Castledine and Ben Evans
Running dates: 30th September – 18th October

Reviewed by rachel Sheridan for Whatsonstage.com

In 2002, just before the elections Gillian Plowman made a trip to Zimbabwe which resulted in a correspondence between a young orphan named Enock and many other orphans. This was the inspiration for the monologue; Boniface and Me, which under the superb and sensitive direction of Annie Castledine and Ben Evans has been work shopped to produce Yours Abundantly, From Zimbabwe.

A large circular platform pivots in the centre of the raked stage. Nell and her daughter Georgia appear on this circular platform; the centre of this rapidly declining world. Nell, like Plowman has struck up a friendship with a community in Zimbabwe much to the annoyance of her daughter. As Nell becomes inundated with letters and appeals from Zimbabwe she struggles with her motives for wanting to help, whilst facing fierce opposition from her daughter who feels she is as deserving of a mother as these Zimbabwean orphans.

The Zimbabwean community are evoked through the reading of letters. There’s a dedicated headmaster; Boniface and his activist wife, orphans forced to grow up and a young girl desperate to be educated. The performances are incredibly moving, full of desperation, yet full of hope. Aicha Kossoko as Violet Masunda (the wife of Boniface) gives an incredibly powerful speech in resistance to Mugabe’s regime. Life in Zimbabwe is so bleak and the courage of the people who live there is remarkable. As you sit in your comfortable seat in the theatre one struggles with the feelings of sadness and guilt but Plowman’s writing is coloured with humour in her depiction of life in Zimbabwe.

Gillian Wright’s tortured Nell is desperate to help but bombarded by requests to do so. How much can one person do? Why is she doing this? Haunted by feelings of guilt, she wonders if she is trying make up for failures within her own family by buying her way into the hearts of this community.

Hannah Boyde’s, Georgia provides an interesting perspective into the different kinds of problems we have to deal with in the Western world. Plowman in no way degrades the emotions of this bitter young woman who really just wants to know that her Mother loves her, however it certainly is a harsh reality check.

Yours Abundantly, From Zimbabwe, does not preach and it does not take you on a guilt trip but it does remind you of what is happening right now in that place you may choose to ignore as you flick to another channel when it appears on the news.

The Walworth Farce

The Walworth Farce
By Enda WalshDruid

RNT Cottesloe

September 2008

Review by Rachel Sheridan for the British Theatre Guide

The world Enda Walsh paints is extreme and the characters that inhabit it even more so. Initially you may look at such a depiction and think it a complete exaggeration but then you turn on the news and you see it all over again.

The Walworth Farce wrenches you into the theatrical world of Dinny (Denis Conway) and his two sons Sean (Tadhg Murphy) and Blake (Garrett Lombard). For over ten years these three men have been recreating the same event, the day they left Cork for London, every single day in their small, dirty flat on the Walworth Road. Every minute is dedicated to re-imagining each moment from that day all those years ago and in doing so they have completely lost touch with reality.

Dinny has turned his sons into willing prisoners, petrified of the outside world. Only Sean leaves the house each day to go to Tesco to buy the necessary food and props for their performance but he always returns, too fearful to explore any further. However it is on the day that we witness this terrifyingly funny production of theirs that the outside world finds a way in with horrific consequences.

The flat is disgusting. Yellow walls, peeling wallpaper, greasy cupboards and filthy floors are the stage on which these men perform their tale. The performances of Conway, Murphy and Lombard are all exceptional as the three men dart about the stage reinacting various roles, switching wigs and accessories and holding a coat in one hand and a hat in another to illustrate other characters. Conway as Dinny is both the perpetrator and victim. His anguish is simultaneously hilarious and painful to watch as his desire to love and protect these boys smothers and destroys them. Murphy as Sean is incredibly endearing with his big dopey eyes and ridiculous haircut, as is Lombard with his powerful performance as the confused and frustrated Blake. Their naivety is touching and heartbreaking, making you burst out laughing one minute and be close to tears the next.

This completely insane scenario that has become normality to these men is yanked right out of its comfort zone with the arrival of Hayley played by the utterly adorable Mercy Ojelade; her non-stop chatter initially making her unaware of what she has entered into.

Walsh takes comedy to the edge and then leaps right off. His portrayal of the normally unseen aspects of society is unnervingly funny and extremely poignant. He pulls back the curtain on family domesticity revealing that life is not always like the Waltons.

The Song Book Revue

The Song Book Revue
The Delphi Theatre Company
Camden Etcetera Theatre
17th May 2009

Reviewed by Rachel Sheridan for the British Theatre Guide

Musical theatre has absolutely seen a revival in recent years thanks to the influx of reality programmes in which we the audience hand pick our cast. There has never been a lack of musical theatre performers but now there is certainly an ever growing audience to pack out not only the big West End shows but also the smaller fringe productions which showcase London’s emerging talent.

The Song Book Revue is an example of such show. Without question it is a testament to the hard work and dedication of these young performers and whilst it may not be perfect that doesn’t really matter as it’s just a great opportunity for both performers and composers to get their work out there.

I said it doesn’t matter if it’s perfect which is just as well as The Song Book Revue is far from that. There are some questionable lyrics, some unmemorable melodies and some rather cheesy performances but on the other hand there are songs that show real promise and some cracking voices.

“Straits of Magellan” is a lovely narrative piece performed beautifully by Josh Boyd-Rochford and Cristin Curtin’s emotional rendition of “I Won’t Mind” by Jeff Blumenkrantz is a touching moment. However on the flip side there are also songs such as the completely unimaginative “Reunion” by S. Carlile & Linda Rocco O’Connell.

This small cast work well together even if the harmonies aren’t always spot on and it does tend to be a little sickly sweet at times. Musical theatre may not be the edgiest of performance styles but there are a little too many cute smiles and nods to each other for my liking, combined with the mystified, slightly startled expressions that spread across the cast’s faces as they look above the audience feigning sincerity.

However despite these criticisms, ultimately The Song Book Revue is a charming evening of entertainment and as worthy of our attention for spotting new talent as any reality show.

The Family (Semiankii)

The Family (Semiankii)

Written and interpreted by Teatr Licedei
Hackney Empire
Running Dates: 9th September – 27th September

Reviewed by Rachel Sheridan for whatsonstage.com

Teatr Licedei origins lie in political physical theatre with past works including a manifestation against nuclear danger. In recent years however they have turned their hand to clowning, which in today’s current climate is actually incredibly apt.

The Family (Semianyki) aims to explore daily Russian life through depicting a family of six with four naughty children, their grumpy father and pregnant mother, who still craves romance with her husband.

Initially The Family is akin to a great big toy box full of all your favourites: silly costumes, crazy hair and make up and a stage strewn with brick a brack. However it’s when you play with these toys that the fun really starts and sadly Teatr Licedei and I have very different ideas on what constitutes fun.

The action primarily revolves around a father who is constantly threatening to walk out on his family as he reaches the end of his tether with his naughty children. This is certainly realistic but a little strange for a children’s show. Scene after scene depicts their various antics, some of which make sense others which are completely random; pillow fights, conducting an imaginary orchestra and drawing on an invisible blackboard to name a few.

There is also a strange mix of naturalistic performance integrated into the clowning with the mother constantly dancing in a sexual manner trying to seduce her tired husband. The use of some props also felt a little uneasy at times with guns and saws used to threaten violence and the children smoking their father’s cigarettes to antagonise him. Returning to the main focus of the play, this may be reflective of life in Russia and whilst it is executed in a silly manner it doesn’t always feel suitable viewing for children

One may say that this is the perfect show for children as the way in which kids play is nonsensical. However with a running time of two hours, some structure is necessary to hold a child’s attention and whilst the children in the audience certainly seemed to be amused it was not by any means the enchanted audience that other kids shows such as The Gruffalo can achieve. Although I have to comment that Act 2 does redeem itself slightly with a great deal of audience interaction, yanking back the attention of any children whose minds have clearly started to wonder.

A show for kids, perhaps, but unfortunately my inner child was not enticed out by The Family.

The Exqusite Corpse

The Exqusite Corpse
Southwark Playhouse
True/fiction theatre company
Director – Matt Peover
5th -30th May

Reviewed by Rachel Sheridan for the British Theatre Guide

Most of us have played a game of consequences at some stage. You draw a head, fold the paper over then pass it on to someone who draws the torso who then folds it over and passes it to someone who draws the legs etc, revealing a rather unusual creation at the end. The surrealists called this game Le Corpse Exquisite which is the inspiration for true/fiction Theatre Company’s The Exquisite Corpse. However rather than a piece of paper in this instance it is scenes written by various writers which are performed in a different order each night.

On paper this sounds incredibly unique and exciting. Five writers have individually written scenes in isolation. There are reoccurring themes such as death and water as some writers were inspired by the same materials but ultimately they stand alone and come together to create one piece. As the audience are waiting to go into the theatre they are surrounded by objects which represent each scene. The audience are free to move these objects around, thus determining the order that these scenes will play in, therefore each performance is completely unique. As I said this sounds great on paper however the execution of it is another matter.

Surrealist work often features the element of surprise with unexpected juxtapositions. They present a distorted version of the world in order to reveal the truth. However the problem with The Exqusite Corpse lies in the difficulty to derive any meaning from what you are seeing. Yes there are a motife of reoccuring themes, the peformances are good and there really are some nice little scenes however as a piece it feels very disconnected and ultimatley somewhat pointless.

Director Matt Peover discusses the infinate possibilites in which the scenes may unfold, yet even if the scenes were told in the same order every night the piece would remain illogical. Believe me I am not desperate to see a linear narrative with a beginning, middle and end, in fact it would perhaps be more interesing to take a piece of theatre written with a linear narrative and let the audience jumble those scenes up every night to see what emerges. However when the scenes are already detached from one another as they are with this piece, aside from it being a great challenge for the peformers, little extra is added by mixing them up.

One may think I am missing the point of The Exqusite Corpse and that the very nature of the piece is that it be non-sensical. It is true that the Surrealist movement did not concern itself itself with logical reason or thought, however they did wish to ignite passion in those who witnessed its works and sadly The Exqusite Corpse, despite some interesting moments fails to keep that flame alive.

The Establishment

The Establishment
Written by Jessica Woolf
Directed by Elin Glennfjord
Crescent Theatre Production
The Etcetera Theatre
16th August – 21st August

Reviewed by Rachel Sheridan for The British Theatre Guide

We’re in the future….I think. Society had been taken over by some sort of dictatorship….I think. The future of society depends on women rapidly reproducing….I think.

Jessica Woolf’s play The Establishment hints at all these ideas but is aggravatingly vague in the execution of them. Set in some sort of an office a group of women debate their situation. It seems that the function of the female race has been reduced to breeding and the consequences are devastating for anyone who violates this law.

What is not clear, is why? What has happened to society for this to happen? I presume it is some sort of consequence of more and more women following career aspirations and delaying child birth, however this is not really explored. There is no sense of who these women are or where they are. Again, perhaps to portray how the differences in women have been eliminated reducing them to nothing more than reproductive organs. Yes you have the funny one, the stern one, the slightly mysterious one but these are all very one dimensional characteristics with no depth to them.

As the questions remain unanswered, one very quickly looses interest in the discovering the answers. The tense atmosphere is evident, however the entire play hinges on this feeling. The performance is all very much on the same level with no real highs or lows, even though the action suggests otherwise.

Death of a Maiden this aint and whilst young theatre companies should be praised for their drive and commitment to producing their own work, the future of this particular production is unfortunately as bleak as the dystopian society they’ve tried to depict.

The Buccaneer

The Buccaneer
Finborough Theatre
Running Dates: Sundays and Mondays, 16th, 22nd, 23rd, 29th and 30th June

Reviewed by Rachel Sheridan for Whatsonstage.com

There is always a chance with musicals from the 1950s that they can wind up being corny and artificial. There are certain pitfalls that need to be avoided and sadly the Finborough Theatre’s production The Buccaneer falls head first into every single one.

It is 1950s England and the much loved comic The Buccaneer is under attack from its American rivals which threaten to corrupt Britain’s “innocent” children. As Mrs Barraclough (April Nicholson) and Mr. Donkin (John Paton) fight to save their beloved comic, the so-called wholesome kids also get involved in the hope that good will triumph over evil.

Although a semi-staged, script in hand production this is not an excuse for a sugar coated performance with an empty centre. With the exception of Samantha Giffard (Marilyn) and Tim Edwards (Montgomery), the cast wander about the stage clinging to their scripts as if they are security blankets. Nicholson and Paton barely look at the other performers and there are the inevitable long and awkward pauses throughout as they loose their place in the script and then struggle for their line.

The set is of the time and delightfully kitsch. Graeme Thewlis on piano accompaniment plays with passion and energy, however this does not apply to the performance itself. Whilst the songs are fairly well rehearsed the dialogue is clunky and monotonous as if watching a second or third read through.

Admittedly the script certainly has its flaws and perhaps there is a reason that this is the first performance of this musical in over fifty years. Lending itself to a certain style of reading you may expect the production to be somewhat tongue in cheek but not to the extent that it becomes a comedy sketch version of an amateur dramatic performance.

What could have been a nostalgic glance at the “good ol’ days” is what the folk back then would call a bit of a “rotter”. Good clean fun does not have to be old fashioned and dated and whilst I usually want the good guys to win, I think I’m prepared to make an exception to that rule on this occasion.

The 39 Steps

The 39 Steps
Directed by Maria Aitken
Adapted by Patrick Barlow
Production Company – Fiery Angel
Criterion Theatre

Monday 4th August, 2008

Reviewed by Rachel Sheridan for the British Theatre Guide

The 39 Steps now in its second year at the Criterion Theatre and boasting an Olivier for “best new comedy”, is a fast paced, quick witted comedy caper which shows absolutely no signs of slowing down.

Nigel Betts and Alan Perrin join the cast to makeup the other half of the four strong ensemble who play approximately thirty nine characters amongst them with Betts and Perrin taking on the majority of these roles.

The melodramatic farce involving the falsely accused and ever so suave Richard Hannay (Jo Stone-Fewings) who is on the run to prove his innocence continues to be a sophisticated and slick “who dunnit” mystery with plenty of surprises thrown in (literally) along the way.

Taking its inspiration from the John Buchan novel of the same title and the subsequent films that were made; most memorably Alfred Hitchcock’s 1935 version, the play is very much of the same beautifully over the top performance style. However with a twist, why have a cast of thirty when four actors can play all the roles.

As the stage transforms from London town house to the Scottish moors to a B&B and even the London Palladium the performers maintain the pace as they switch between spy, cleaning lady, milkman, policeman and farmer to name but a few with Betts and Perrin often skilfully playing two or three roles simultaneously.

Betts and Perrin are superb, creating distinctive and memorable characters; no matter how minor, no line is thrown away. What could easily descend into a shambles is in fact polished and extremely tight with the doubling/tripling/ quadrupling of roles creating much of the humour.

The melodramatic dialogue is superbly observed with many a wink to the audience. The sweeping score throughout enhances the performances adding yet more comedy to moments of high emotion.

The 39 Steps is delightfully theatrical and unashamedly so as it virtually draws the audience’s attention to the majority of its theatrical devices. Tongue in cheek, yet certainly not without a brain this production should continue to do “jolly well old chap”….I say.

Sweeney Todd – The Demon Barber of Fleet Street

Sweeney Todd – The Demon Barber of Fleet Street
The Union Theatre
Directed by Sasha Regan
Music & Lyrics by Stephen Sondheim
Book by Hugh Wheeler
12th November – 6th December

Reviewed by Rachel Sheridan for The British Theatre Guide

The Union Theatre with its exposed brick work, the musty smell of damp and trains intermittently running overhead is the perfect setting for Steven Sondheim’s musical Sweeney Todd – The Demon Barber of Fleet Street.

After twenty years imprisonment for a crime he didn’t commit, Benjamin Barker (Christopher Howell) travels back to London to discover he has lost his wife and daughter. He returns to his former profession as a barber (under the new name of Sweeney Todd) with the help of local pie shop owner Mrs Lovett (Emma Francis). Sweeney quickly re-discovers his passion for shaving and gives the folk of Fleet Street the closest shaves of their lives; which has a surprising impact on Mrs Lovett’s pie shop.

Following in the footsteps of Tim Burton’s lavish film production staring Jonny Depp and Helena Bonham-Carter it is impossible to avoid comparisons. With probably a millionth of Burton’s budget, the Union Theatre’s production of Sweeney Todd does not disappoint.

Sweeney Todd is arguably Sondheim’s most challenging and complicated score with its multiple harmonies, twisting and turning in unexpected directions. Musical director Christopher Mundy, with only two pianos handles this mammoth task with skilful ease.

Taking advantage of the space and its natural dinginess, the set is minimal with lighting indicating the changes in space and time and candles illuminating the actor’s faces.

Sasha Regan’s subtle, understated direction allows the chilling story of Sweeney Todd and his murderous appetite to be told without becoming farcical.

Howell as Sweeney gives an unnerving performance as his penchant for killing develops, whilst his rich and powerful vocals portray the pain and suffering of this broken man. Francis; the seductive Mrs Lovett, provides a great contrast to the sombre Sweeney with her witty sarcasm and there is a fiery chemistry between the pair; aroused by their killing spree.

Supported by a strong cast and a hilarious cameo from Nigel Pilkington as the ever so camp Beadle Bamford, this production of Sweeney Todd is comparable to any West End musical. Certainly not your typical run up to Christmas show, it is well worth a visit, although I’d probably give their pies a miss.

Story of a Rabbit

Story of a Rabbit

Created & Performed by Hugh Hughes Hoipolloi Barbican Pit
June 2008

Reviewed by Rachel Sheridan for the British Theatre Guide

There are things that I know for certain. I know that I am female, I know that I live in London, I know that last night I saw Story of a Rabbit. These are all indisputable facts.
Through performance art Hugh Hughes aims to examine knowledge verses experience. Although having said this, in keeping with the show's ethos; this is not fact, it is merely assumption on my behalf based on my personal experience of this show.
Story of a Rabbit examines death. However in doing so, it almost becomes a show that is in fact more about life. Hughes directly addresses the audience, as he flits between two stories; the 1995 death of a neighbour's rabbit whilst in his care and the death of his Father in 2001.
Biographical in nature this is a very personal show. Not only because of the content but also through the very essence of Hughes himself. Throughout there is direct and often improvised interaction with the audience; asking late comers the reasons for their delay, requesting that we share certain experiences and even offering two lucky people a cup of tea.
I'm usually not a fan of audience participation as it feels contrived and an unnecessary device to make one feel part of the action. However Hughes manner is effortless and his childlike eagerness to communicate with his audience is very endearing.
Throughout Hughes is at pains to explain each device in his "multi media" performance; nothing can be taken for granted. If an image appears on the back wall, he will explain why it is there and how it will be created. The constant soundtrack provided throughout by his good friend Aled Williams is also explained; why he is involved in the piece and how he is creating the effects. Of course this is interesting as despite these efforts to ensure we understand the reasoning behind his work, ultimately he has no control over how each individual audience member will perceive the piece.
As Hughes deconstructs life and the theatrics of theatre, outlining the interchangeable nature of the two he manages to avoid over sentimentality. What could have become a self indulgent, cathartic process for Hughes is instead reflective and actually pretty funny. Not only because of his comedic delivery but just as you feel yourself sinking into something slightly morose he snaps you out of it by suddenly drawing your attention to the angle at which the ladder was from which his Father fell when having a heart attack.
Running at eighty minutes, Story of a Rabbit could do with shaving twenty minutes of its time. The connection with Hughes starts to fade towards the end which is not ideal for a piece that actively seeks to engage its audience. However it must be applauded for challenging conventions of theatre. It is easy to get bogged down in the theoretical nature of this piece and question the reasoning behind each decision, however it is not necessary to leave with complete understanding. Some of the most effective pieces of cinema, to take David Lynch films as an example leave you with more questions than answers; just as with life.
As one famous man once said "Imagination is more important than knowledge" (Albert Einstein)

Spreading Her Thinly

Spreading Her Thinly
Whose Shoes Productions
Directed by Joy Forsythe
Written by Tracy Forsythe
Etcetera Theatre
24th February – 15th March

Reviewed by Rachel Sheridan for the British Theatre Guide

An examination of the modern day mother; juggling her various commitments whilst trying to achieve it all is hardly an original concept, but it’s a topical subject and there’s plenty of scope for humour; or so you would think. Spreading Her Thinly takes this potentially funny idea and somehow makes it about as interesting as changing a nappy.

On the one hand you have your career mother, completely dependant on her nanny and who wouldn’t know how to make a healthy snack if her life depended on it. Then you have the stay at home mum, who is vigilant about avoiding additives and relaxes on her yoga mat. Completely different and yet so similar, both are consumed by feelings of inadequacy about their mothering skills and the choices they make. This still sounds like a potentially entertaining play; however it is in the execution that it falls apart.

There is no plot, merely sketch show like scenes strung together. The various characters are complete two dimensional stereotypes and again this would probably be ok, if it was at least funny. Writer Tracy Forsythe certainly intended this script littered with cheesy gags to be comical but sadly it is not.

Forsythe who also plays earth mother Nuala and Emily Ballantyne who plays career mother Jenny as well as a host of other characters such as a patronising ballet teacher, a bossy American and an extremely loud school teacher whiz through their lines as if there is no tomorrow, barley giving the audience enough time to consider the already weak punch lines. The performances, like the script, lack any sophistication or truthfulness, particularly highlighted in the scene where Forsythe is a single mother signing on. Apparently in the world of Spreading Her Thinly anyone claiming benefit is a total simpleton, incapable of eating her custard creams without getting them in her hair and is, of course, from the North!

Spreading Her Thinly presumably refers to a mother spreading herself thinly between, work, husband, children and all her other commitments, but in terms of this play I’m not sure if it’s worth spreading it at all.

Shout

Shout
Based on a concept by Phillip George and David Lowenstein
Directed by Bill Deamer
Mark Goucher Limited
Arts Theatre

31st April 2009

Reviewed by Rachel Sheridan for the British Theatre Guide

With shows like Wicked and Hairspray still playing to sell out crowds and new musical Priscilla Queen of the Desert just opening with Sister Act hot on its heels the sixties based musical Shout certainly has some tough competition on its hands.

Although a show on a much smaller scale (and budget) than the afore mentioned musicals, Shout is more than capable of holding its own. The poster pretty much says it all and it’s nothing more or less than exactly what you would expect. It’s fun and cheesy and packed full of songs from the swinging sixties.

As three girls travel from the north of England to London to stay with wacky Aunt Yvonne (Su Pollard) we follow them through the decade that invented the word teenager, introduced girls to the contraceptive pill and of course there was the arrival of the Beatles. Narrated by the voice of Shout magazine and a soundtrack of favourites including “Downtown”, “Bobby’s Girl”, “I Just Don’t Know What To Do With Myself”, “Shout” and many more there is a song for everyone. However as you would expect, all of this is strung together by a fairly weak plot.

The intricacies of the plot (or lack of) are immaterial as this show is designed to have the audience up on its feet, clapping along and this is exactly what it achieves. The performance style is anything but subtle as the cast relish in the naff gags and Su Pollard who has made a career out of overacting doesn’t disappoint us now and hams it up a treat.

Shout is playful and light-hearted and will have even your most cynical audience member tapping their feet against their better judgement. Is it the “grooviest show in town” as the programme promises – probably not, but here’s “wishin’ and hoping” it does better than the Arts Theatre’s recent offerings as it’s definitely worth taking a trip down memory lane; after all “these boots are made for walking”!

Sh*t M*x

Sh*t M*x
Written by Leo Richardson
Directed by Samantha Potter
From The Curving Road
Trafalgar Studios – Studio 2
Running dates: 30th September – 25th October

Reviewed by Rachel Sheridan for the British Theatre Guide

Pumping music, a minimal set with inner city photography hanging at the back and stylised movement fused with naturalistic performance; all the ingredients for another piece of urban realism.

Ok, so there may not be anything particularly original about Sh*t M*x but that doesn’t really matter as it’s funny and poignant and a very accurate portrayal of a group teens; each with their own problems to deal with.

The characters in Sh*t M*x are not patronised and their issues are not degraded. Maybe it’s because the writer Leo Richardson who also plays Lonely Boy (LB) is not much older than the characters he writes about that you feel a genuine sympathy for these teenagers; as you’re laughing at them you’re also remembering exactly what it felt like to be a confused and misunderstood teenager.

Set in a park, an unlikely group of friends hang out, drink, flirt, confide and fight with each other. Closeted, West End Leading man wannabe, Bent Ben (Steven Webb) with his fag-hag Raggedy Anne (Aimee-Ffion Edwards) the gothic misfit who is besotted with LB – the chav with a love of Lonsdale clothing and desperate to loose his virginity. Then there is the town bike, Dirty Debbie (Cassie Atkinson) who is more than happy to help LB with loosing his virginity but is clearly desperately seeking approval and lastly, Harry the Hottie (Jay Taylor) LB’s older brother who everyone is in love with but he doesn’t even want to contemplate who he may be attracted to.

The hanging photography flashing with graffiti images accompanied by various hip hop tunes and a dance break indicates the shift in pace or emotion of a scene. Although, eager not to take itself too seriously these “conceptual” moments are often a complete parody of this style of theatre, such as whenever a character imagines themselves with Harry the Hotty, he appears on stage a la James Bond to the soundtrack of “For Your Eyes Only” or Bent Ben appearing onstage to the music of “Dream girls” (although this isn’t as far fetched as you’d think, I know more than a few men of a certain disposition who have this as the imaginary soundtrack to their lives playing in their heads). Sometimes these moments worked and others didn’t as they either went on for too long or didn’t quite mesh with the rest of the scene.

What really makes this play work though is some very well observed dialogue and superb performances. All five actors whilst giving heightened portrayals are all incredibly truthful and I could literally watch Steven Webb all day with his funny little nuances and easy manner.

Richardson is a promising new writer with some challenging ideas; it’s not all musical theatre and popular culture references (although there is a lot of this). He is not afraid to take his writing to a darker place and I look forward to what comes next when he re-m*xes the sh*t.

Pluto

Pluto
Written by Jon Bonfiglio
Directed by Emily Agnew
Theatre Company: The New Writing Collective, GRIT Productions, Mokita Productions
Blue Elephant Theatre
28th May – 15th June, 2008

Reviewed by Rachel Sheridan for The British Theatre Guide

What happens when a fascination with what’s out there, in that vast, never-ending galaxy stops you from actually living your life on earth?

On a mountainside in Chile, John Bootes (Bill Hutchens), his daughter Mira (Samantha Hopkins) and his assistant Lau (Matt Addis) spend their days and nights gazing into space, studying constellations, debating whether Pluto is a planet or a star and as we join them they are waiting to see if a shuttle survives its return to earth.

However all is not as it seems; there is all this talk of looking, yet Mira is blind. Blind from birth she has no point of reference; no understanding of what is black and what is white.

The unexpected arrival of Mira’s Mother, Cass (Ruth James) who John hasn’t seen for eighteen years unearths emotions which have been deeply buried. Pluto rather poetically explores the blurring boundaries of emotion and science; of love and hate.

This sparse mountain top landscape plays host to a family (for want of a better word) who are finally being honest with each other. Resisting the urge to play the melodrama there is a quiet passion in Samantha Hopkin’s Mira, refusing to let the fact that she can’t see the stars get in the way of her fascination with them. Just because you can’t see something, does it mean that it’s not there?

All the while Lau observes from the shadows, wanting to be a part of it, yet always remaining on the outskirts. Essentially narrating the piece through a number of spotlight monologues Matt Addis is endearing and charming as he deliveres Jon Bonfiglio’s beautifully written dialogue. There is a connection between him and the audience who are also on the outskirts of the action; observing but never fully drawn in. At times the verbose nature of this script gets in the way of cutting to the core emotions of these characters.

In many ways this play can be likened to its subject matter – a star blazing in the distance yet extinguished by the time it reaches us. The flowery language with its array of metaphors and similes whilst poetic feels detached and although interesting to observe the irony of two people who look at things for a living having a blind daughter, I found myself feeling rather indifferent.

In over analysing, you can in fact miss what is staring you in the face. Whilst I appreciate that this is what Bonfiglio is at pains to point this out, he should perhaps listen to his own advice.

Piaf

Piaf
Written by Pam Gems
Directed by James Lloyd
Donmar Warehouse
Wednesday13th August, 2008

Reviewed by Rachel Sheridan for the British Theatre Guide

A tiny female figure, hunched over, barely able to stand, unsteadily makes her way onto the stage. As she struggles to sing a note she is pushed around the stage by the rest of the cast, physically thrown back in time as they disrobe her, revealing a young and very cocky teenager and so the story of Edith Piaf’s life begins.

Pam Gem’s Piaf, first produced by the RSC in 1979, now playing at the Donmar Warehouse charts the life of Edith Piaf; from her childhood on the streets to her many relationships, to her appetite for alcohol and drugs and above all her overriding desire to sing.

Elena Roger (an established name in the West End since her acclaimed performance as Evita Peron) gives another outstanding performance as Edith Piaf. Often referred to as “little sparrow”, Roger flits about the stage with the intensity and passion of Piaf herself. She may be tiny but what a powerful presence Roger is as the crude, blunt, unsophisticated and loveable Piaf. Her performance is everything that Piaf’s songs were; conveying the anticipation of hope, frustration, despair and desire.

However, can the life of this extraordinary woman be crammed into ninety minutes? Gem’s has certainly given it her best shot as the scenes wiz through Piaf’s early years to the detriment of portraying just how tough Piaf’s upbringing was and the impact it had on the rest of her life. Whilst her good friend Toine (Lorraine Bruce) is always present the intensity of her other relationships are lost, particularly that of her affair with her married lover Marcel (Phillip Browne) which is played out in just one scene.

Whilst Roger’s journey and progression as Piaf is clear, it is not always clear why. So many characters come and go that it is difficult to keep track of who is who and the impact that they had on Piaf. Although Katherine Kingsley’s performance as the stunning Marlene Dietrich, every inch the star, oozing sexuality must be noted.

Piaf’s songs, passionately performed by Roger with incredible similarity to Piaf are often used as a soundtrack, rather than performance moments, helping to define the emotion of the moment and charting where Piaf was in certain stages of her life but sadly this does not make up for the lack of detail in the story line.

It is difficult not to compare Piaf with the recently acclaimed film La Vie En Rose which running at approximately three hours was able to provide far greater detail. However, whilst some keys facts may be amiss, James Lloyd’s production certainly conjures up the vigour with which Piaf lived her whirlwind life. Performed against a blackened, burnt out stage, with the word “Piaf” decaying and peeling off the back wall, it very much resembles Piaf herself. In her final years, looking much older than her forty-seven years, Piaf physically faded away through illness and drug abuse in front of a nation but she refused to do so quietly.

As a fragile and weak Piaf takes to the stage for one final song – “Non, Je Ne Regrette Rien” her words ring loud and true for this woman who certainly lived life to the full and will always be remembered for doing just that.

Only When I Laugh

Only When I Laugh

Love & Madness production
Written by Jack Shepherd
Directed by Nicky Henson
Arcola Theatre
14th April – 2nd May 2009

Reveiewed by Rachel Sheridan for the British Theatre Guide

The variety act is a dying art form but there was once a time when folk who had very little money would spend what they did have on a trip to the local theatre and catch the variety acts that were in town.

Written by and starring Jack Shepherd (of Wycliffe notoriety) Only When I Laugh takes us back to a time when the most unlikely characters toured up and down the country together entertaining the locals in whatever town they happened to be in. The years after WII were not easy times. Especially in the north of England which is where we are on the night we join this mismatched group of entertainers. There was no central heating, no fridges, no washing machines and there was mass unemployment. The variety show was an opportunity to escape from the harsh realities of life and sit back to enjoy a song, or a laugh or watching someone do something strange with balloons; whatever happened to be on the bill that night. However on this particular occasion there is more drama happening off stage than there is on stage.

The band is a no show for rehearsals, there is a new singer in town who unbeknown to legendary comedian Reg Henson has kicked him off the number one spot. There are acts having affairs and there’s an old busy-body milling around trying to ensure that no obscenities make there way into the acts.

The performances cannot be faulted. Each cast member is superb as they capture the essence of characters from this era beautifully. Yet despite this, it is not a captivating story. There are certainly funny shenanigans to enjoy such as Jim Bywater as Reg Henson throwing a drunken hissy fit and demolishing his room upon discovering that he has been relocated to the number two dressing room. Stephanie Thomas is delightful as naïve Rita Atkinson (half of the twin tap dancing sensation) who has been foolishly seduced by the up and coming (and married) comedian Stanley Hinchcliffe and of course Jack Shepherd is brilliant as always as he tries to control this unruly rabble. However as a show it feels a little old fashioned. It’s pleasant enough but in the same way that an episode of Last of the Summer Wine is on a Sunday night.

Perhaps this show is more appealing to a certain generation but it’s a shame that this production about variety acts is not quite as entertaining as they once were.

Oliver Twist

Oliver Twist
Love & Madness
Directed by Abigail Anderson
Riverside Studios

Reviewed by Rachel Sheridan for Whatsonstage.com

It’s a brave choice to stage Oliver Twist when you have the highly publicised and anticipated musical version playing just down the road. If high kicks and good ‘ol cockney spirit is what you are after then you’d best stick with the Drury Lane production as you won’t find any of that down at Riverside Studios.

This much loved story of an orphaned boy needs little explanation, so ingrained is it in British literature. Love & Madness’ production is far more true to Dickens original story of the bleak existence of a boy called Oliver Twist. Not to say that this production is without laughs as there are many comical characters to be found but the humour certainly doesn’t come from a little ditty about how to pick a pocket or two.

Abigail Anderson’s pacey and energetic direction is perfect for this production which is ideally suited to a younger audience. The cast of five are wonderfully over the top in their presentation of Dickens larger than life characters, yet their performances remain truthful and do not patronise their audience. A grotesque Mr Bumble (Simon Yadoo), a troubled Nancy (Lucia McAnespie) with a heart of gold and a Dodger (Cary Crankson) who sounds like he hangs out with the kids of today remind us why this story remains so popular. Although the brutal murder of Nancy is not for the fainthearted.

The problem however lies in the fact that this production is essentially geared towards children and yet is playing to an adult audience. Whilst an older audience will still gain enjoyment from the performance they would realistically prefer something a little more sophisticated.

Children and teenagers will delight in the re-telling of this classic and it could be especially popular with those studying the text at school. However if Riverside Studios want its audience asking “please sir, can I have some more” they’ll need to reconsider their scheduling of such a production as sadly your more mature audience member will need something a little more filling.

New Voices: Broadway Outside the Box

New Voices: Broadway Outside the Box
Directed by Annette Jolles
Presented by New Voices Concerts (NVC)
Southbank Centre’s Purcell Room at Queen Elizabeth Hall
One night only – 12th October

Reviewed by Rachel Sheridan for the British Theatre Guide

One off cabaret performances involving stars from the West End seems to have become very popular of late. Usually performed on a Sunday they give the dedicated fans of musical theatre another opportunity to see their favourite performers do something a little different.

This is exactly what New Voices: Broadway Outside the Box wants to do; produce musical theatre that is a little bit different and unexpected. Conceived in New York in 2003 the concept was to create a show in which new and established composers and lyricists could explore new directions with their work.

The composers and lyricists are presented with various stimuli for which they can draw inspiration from. Maybe a city, or a concept such as love or even a poem and they are encouraged to take risks; to produce music that the audience would not expect from them. Obviously if you aren’t familiar with their work, you won’t appreciate the new direction they are taking but it certainly will not taint your enjoyment.

New Voices places its emphasis on the story of the song. There are no fancy costumes or big dance numbers, simply a small band and on this occasion eight performers taking to the stage to share with you these stories. Hosted by the very dry and witty Richard Sisson (a composer himself with recent works including The History Boys at The National) the audience were taken on a journey through New York City, the ins and outs of complicated love affairs, a young girl’s teenage crush on a boy called Eduardo and a surprising turn into the adventures of a foolish cookie boy.

Particularly poignant moments came from the beautifully composed “The face” by Steve Marzullo which took it’s inspiration from an obscure poem from the early 17th century poet Arthur Gorges. One song comprised of three poems running separately yet simultaneously was performed by Damian Humbley, Oliver Tompsett and Liam Tamne. Malinda Parris bought the audience to a complete silence on more than one occasion but particularly with her stunning rendition of the song “Out of Love” composed and written by Zina Goldrich and Marcy Heisler. There was also a great deal of humour throughout, especially from Dianne Pilkington (currently playing Glinda in Wicked) in “Eduardo” (Marc Smollin/Kelly Dupuis) and “The Cookie Boy” (Sam Davis/Sean Hartley) doing what she does best; comedy with a heart.

This was not a one off visit from New Voices, with another performance already planned for March 2009 showcasing more new material and starring more West End names it won’t be long before New Voices is no longer new to London and a regular date for all musical theatre fans.

Never Forget(The new musical based on the songs of Take That)

Never Forget (The new musical based on the songs of Take That)
Music & Lyrics by Gary Barlow
Writers – Danny Brocklehurst, Guy Jones & Ed Curtis
Musical Director – Matt Smith
Director – Ed Curtis
Savoy Theatre

Wednesday 21st May, 2008

Reviewed by Rachel Sheridan for The British Theatre Guide

It has been over ten years since we heard the traumatic news that saw teenagers running for the phones to call the Samaritans upon hearing that Take That had split. More of an East 17 girl myself, I still remember that day well and whilst the come back of my personal favourite boy band didn’t quite take off I was more than happy to welcome Gary and the gang back with open arms when they reunited.

However, another musical, following the example of shows such as We Will Rock You and Mama Mia, well that, I was a little more dubious about. Having completed its national tour, Never Forget has come to the Savoy Theatre where it seems crowds of adoring fans await.

This musical is not the story of Take That, it is rather the story of a group of lads who for various reasons join a Take That tribute act in the hopes of winning a talent contest. How do they do it? I hear you say. What ingenious plot will they think of next?

The truth is, this is a musical for Take That fans (of which there are plenty) and nothing more. Featuring virtually all of their greatest hits the production works best when the songs are used as music for the various bar/club/salsa scenes or when the tribute band are performing as Take That. It doesn’t work however, when the songs are weaved into the virtually non-existent plot. The audience seem to totally miss the point that it is meant to be a painful and emotional moment between the two leads when they sing “A Million Love Songs” to one another. Instead they giggle at the recognition of the song, join in and then start waving their arms in the air. I was getting ready for the stewards to tell people off for getting their lighters out.

Dean Chrisnall as Ash who plays Gary Barlow in the band (are you following?) has a fantastic voice and Sophia Ragavelas as Chloe (Ash’s girlfriend) is better than Lou Lou herself when singing with the boys. Nevertheless great singing and dancing is not enough to hold a musical together. One must care about the characters which is difficult with cheesy acting and even cheesier dialogue, littered with cheap gags and interrupted every five minutes by an inconsequential dance break that does nothing to move even a simplistic plot along.

There are some impressive theatrics, combined with spectacular lighting from set designer Bob Bailey and lighting designer James Whiteside creating several moments just like a Take That concert and despite my better judgement the performance of “Relight my Fire in all its flaming glory left me unwittingly covered in goose bumps.

Throughout the audience are on its feet; whooping, clapping and singing along. As I said though, this is when this musical is at its best – when it is like a concert. This leads me to only one conclusion; why see a show about a tribute act when you could just see a tribute act, or, even better, now that the mighty boys (minus Robbie) are back together you could just go and see the real thing.

As I left the theatre humming classics such as “Pray” and “Everything Changes” I have to admit it was fun to be reminded of the soundtrack to my teenage years. However in terms of following the show’s mantra “Never Forget”, I’ve got to be honest, I probably will.

Mirror Magic Market Tales

Mirror Magic Market Tales
Presented by: Love & Madness
Written by: Chantal Schaul
Directed by: Neil Sheppeck
Riverside Studios
Running dates: 9th December – 4th January

16th December, 2008

Reviewed by Rachel Sheridan for The British Theatre Guide

Just round the corner from Hammersmith Tube, through the doors of the Riverside Studios you’ll find a magical world where a lady gives away gingerbread from a house made of sweets and a market stall that sells smelly-feet flavoured jam.

This is the land of Mirror Magic Market Tales, a fantasy world in which mirrors are far more than a reflective surface to look at. Visually this world is stunning, as you wander amongst the stalls, you literally do feel like a child in a candy store, taking in the multi coloured jams for sale, and a strange array of bric a brac. The characters that inhabit this world are just as unusual with their interesting approach to selling. The prematurely bald Lionel (Craig Tonks) and his fantastic selection of knitwear, Yes (Richard Holt) who is only capable of saying the word “yes” and uses an electronic kit attached to his belt to aid the selling of his various metal goods and then there is poor Will (Jack Roth) who suffers from a rare condition around reflective surfaces, which is unfortunate in a land surrounded by mirrors.

Once you’ve become fully acquainted with the town folk you may take a seat and the story begins and this is where it begins to unravel slightly. As we follow the adventures of this group of misfits and their encounters with the “magic mirror of consequence” it’s hard to know who this show is aimed at. Initially you may think children but the language is verbose and the plot fairly complicated. Yet it is not really a show for adults either. The wordy dialogue is funny and the execution of Chantal Schaul’s script by the performers cannot be faulted, but the content is not meaty enough to hold an adult’s attention.

It’s a shame as this style of performance has become very trendy of late. With a set and costumes that TV show The Mighty Boosh would envy and disturbing and distorted tales to match, this show has great potential. However by falling somewhere in the middle between adult comedy and kids show it in fact risks loosing both audiences.

Maria Friedman Re-Arranged

Maria Friedman Re-Arranged
Trafalgar Studios – Studio 1
Direction – David Babani
Musical Director – Gareth Valentine
Thursday 5th December

Reviewed by Rachel Sheridan for The British Theatre Guide

Having transferred from a successful run at the Chocolate factory, my dear friend Maria Friedman is performing at the Trafalgar studios for a limited run. So I say friend, strictly speaking that’s not quite true; ok, so I don’t know her personally but after seeing her one woman show, Maria Friedman Re-Arranged, one really does feel like they are life long friends with Ms Friedman.

Looking like she is having the time of her life, Friedman is relishing the opportunity of playing not just one role but a whole range of characters as she performs a wide selection of songs from a variety of musicals allowing her to, as she says herself “dip in and out of as many pools of emotion as she can”.

However that is an understatement; to say that Friedman dives in and out of those pools would be a far more accurate description. Every song has an emotional connection; be it sentimental, funny or saucy. Her eyes as well as the lyrics tell a story that you cannot help but be swept up in as she gracefully turns those tears of sadness into tears of happiness.

There is a contemporary feel to the show as songs such as “Dido’s Lament” are weaved in along side of classics such as “As If We Never Side Goodbye”. The most memorable and poignant moment being “Sunday In The Park with Dot”; a beautiful arrangement by Jason Carr of songs from Sondheim’s Sunday In The Park With George. Her connection with the music bought not only a tear to her eye but also to most of the audience.

However don’t be deceived by this elegant lady, and her charming exterior, deep down she is a true geezer with a dirty mind and a laugh to match. Her interaction with the audience is dry and sarcastic and there is probably a little more audience participation than you might expect from a show of this nature.

Friedman invests everything into her performance and what a performance she gives. You might imagine someone with such talent and experience to at least be a little bit diva-ish and yet she is humble and gracious and despite her huge voice gives a very intimate performance as she interacts with the audience as if they are old friends. You get the impression Friedman would be just as happy giving this performance in her front room; there just wouldn’t be room for everybody.

Maria Friedman Celebrates The Great British Songbook

Maria Friedman Celebrates The Great British Songbook
Arrangements by Jason Carr
Shaw Theatre
5th February – 7th February

Reviewed by Rachel Sheridan for the British Theatre Guide

It’s only been a few weeks since Maria Friedman finished her Olivier award nominated show Maria Friedman: Re-Arranged at the Trafalgar Studios and yet somehow she’s found the time and energy to rehearse for another one woman show – Maria Friedman Celebrates The Great British Songbook.

A limited three day run at the Shaw Theatre, with a sequel to follow in June with Kerry Ellis of Wicked and We Will Rock You fame who will also take to the stage and remind us what makes British music so unique.

Friedman has had a varied and illustrious career, but what sets her apart from many of her contemporaries is her ability to share a song. She says she loves words and this comes as no surprise. When Friedman sings, it really is as if you are hearing the words of each song for the first time as she takes the audience along on an incredible emotional journey. One moment you are watching with tears in your eyes and the next you are laughing at some geezer like comment she makes.

Sadly there is no way of working her superb medley from Sunday in the Park with George into this line up as Sondheim belongs to the other side of the pond. However, as Friedman shows, we’re not short of a few great composers and lyricists ourselves. With beautiful arrangements by Jason Carr, Friedman’s song choices are an eclectic mix with songs from the Beatles to Lloyd Webber to a nostalgic war medley and even a little something she wrote herself. “As If We Never Said Goodbye”, sung to perfection could be Friedman’s signature song – surely it is just a matter of time before we see her tread the boards as Norma Desmond. “Norwegian Wood” and “Eleanor Rigby” by Lennon and McCartney are beautifully sentimental and as she sings “It’s Bound To Be Right On The Night”, the audience are treated to stories of her own early failures; obviously now hilarious in retrospect. Who ever knew that Maria Friedman was once the cleaner to her future co-star Michael Crawford. And of course it wouldn’t be British, if there wasn’t just a little bit of audience participation!

In an age where people rise to fame at the drop of a hat (or as the case may be; drop of a reality TV show), Friedman really is a testament to where a great deal of talent and a lot of hard work can get you. It is her open and honest manner that captivates her audience. She is warm and utterly charming and with a powerful belt that goes on and on, it is little wonder that people keep returning to see Ms Friedman.

Of course I’ll be in trouble if I don’t mention Friedman’s family and friends – David and Lynn in particular. Clearly very important to her, they also put on a fantastic side show, if you’re lucky enough to catch them in the bar after!

Lie Of The Land

Lie Of The Land
Written by Torben Betts
Directed by Adam Barnard
Arcola Theatre – Studio space

April 6th – 2nd May 2009

Reviewed by Rachel Sheridan for the British Theatre Guide

We’ve all thought it – “I need to get out of the city”. For most of us it’s a momentary thought, at best we plan a trip to the county for a long weekend but very few of us actually go through with quitting the city for good in favour of a more simple existence. Torben Betts wrote Lie Of The Land after having a nightmare in which he did just that; the result, a sort of surreal nightmare set by the sea.

A husband and wife in their late 20s/early 30s (they have no names) played by real life husband and wife team Emily Bowker and Chris Harper stand facing the audience; united by their virtually identical grey outfits and yet completely separate. They talk of quitting the rat race and shedding their city costumes in favour of a life of domesticity. They speak in broken sentences as they imagine this new, higher level of existence.

They are at pains to point out the positives of this life they have chosen, almost as if they must keep reminding themselves, lest they forget. Betts dialogue is both witty and intelligent as he writes in a style that is more akin to a commentary rather than actual conversation between the pair.

Lie Of The Land is rather like looking into a distorted mirror. Listen in on the conversations of any group of people in their late 20s/early 30s in London and you’ll hear them complaining that they don’t think they are making the most of their lives; that they could be doing so much more. Bowker and Harper are superb together as they portray this couple who are desperate to live, to exist, to just be. Their heightened style of performance throughout makes their frantic desperation all the more disconcerting to watch.

The influence of film director Lars Von Triers cannot be ignored. In much the same way as Nicole Kidman’s character in Dogville escapes a life she hates only to find herself in a bigger nightmare; so do these characters. As in Dogville all set and props are drawn against this black space and each scene is punctuated by a written description of what we are about to see emphasising this forced environment they find themselves in. They are anything but free of structure, in fact they have to structure themselves more in an effort to avoid the TV, internet and all other modern devices.

As the years go by we find ourselves in the future and the supposed tranquil life of this couple has descended into chaos. In their desire to make more of life they have simply ended up hiding from life. In some sort of weird dystopian future the world outside seems to be falling apart and whilst stubbiness keeps them from leaving the countryside they are in agony as they resist rejoining civilisation.

An acute observation of mankind’s inability to be content, the only flaw with watching people who are bored and miserable is that it can be at times boring and miserable to watch. For the most part Betts avoids this but there are moments when it becomes slightly monotonous.

An extreme and scary picture of the lengths people go to in order to find happiness; ultimately showing that it doesn’t matter what you do, where you go or who you go there with, you can’t escape from yourself.

La Clique

La Clique
London Hippodrome (Leicester Square)
Running dates: 2nd October – booking until February 2009

10th October, 2008

Reviewed by Rachel Sheridan for the British Theatre Guide


It’s quite hard to review a show when you were hiding behind your hands for half of it.

The cult smash hit variety show La Clique is one of those shows where the heart is willing; you want so much to watch but what you see is so fantastically unbelievable that you end up hiding from it. However when you peer out from behind you’re hands you are treated to a line up of some of the world’s finest international acts.

The London Hippodrome re-opens its doors to La Clique with its seductive assortment of circus/burlesque/cabaret. Unpredictable in nature it attacks all the senses with each act somehow topping the one before with the element of surprise and danger adding to the excitement.

To take away any of the mystery would take away from the experience itself. So I shall wet your appetite (there’s a bit of a clue for you already) without giving too much away. There are acts that you will have seen before, a contortionist, a sword swallower, a juggler and acrobats. However La Clique is a cabaret performance with a twist. They present a juggler that is a reincarnation of Freddie Mercury who moves his balls (juggling balls that is) to the music whilst singing throughout, a contortionist who looks like he is from the 118 adverts as he clumsily stumbles about the stage making you fear for his safety as well as your own and there is the stripper with her mischievous disappearing hanky; you know what’s coming and still you can’t believe your eyes.

How on earth people discover they posses these skills is probably not worth contemplating. How they then turn them into an art form is truly remarkable; as Captain Frodo the contortionist says himself “isn’t it just amazing what people can do for a living”.

That really is just a sneak preview into the weird and wonderful world of La Clique but you’ll thank me for not spoiling it. Simply be prepared for a night of guilty pleasures and astonishing acts that must be seen to be believed.

Informed Consent

Informed Consent
Jermyn Street Theatre
Running Dates: 6th October – 25th October

Reviewed by Rachel Sheridan for Whatsonstage.com

Four separate stories all collide as the people involved become unwittingly tangled in each others lives. A taxi driver, Battle (Anton Stephans) wonders aimlessly up and down hospital corridors while his daughter lays in intensive care waiting for a new heart. Meanwhile Dom (Brett Goldstein) and Katya’s (Eugenia Caruso) young son is involved in a road accident which leaves him brain dead. A surgeon Mandl (Will Chitty) and his on off girlfriend nurse Ellen (Susan Bracken) are looking after both these cases, however Mandl is somewhat distracted by the presence of a lonely drag queen, Shirley (Charlie Holloway) who “grants favours” on the streets of New York.

You might say this sounds like another episode of E.R and you wouldn’t be far off the mark. As your attention is divided between these various plotlines you can feel yourself edging towards the predictable point of collision between all these characters.

The only thing that reminds us we are not watching another TV hospital drama is the constant presence of a somewhat distracting radio station at the edge of the action as various actors take turns to play the DJ’s on different stations. Predominantly the radio is Battle’s lifeline to the outside world but also it demonstrates how all the characters are connected as they tune into the same station in their very different circumstances.

It is no surprise to see that director, Mirra Bank has worked a great deal in film and television but her style unfortunately does not translate onto stage. Without the advantage of differing angles and quick cuts between the actors the play struggles with pace and is lacking in urgency. Whilst the clumsy overuse of overlapping lines, rather than feel realistic makes it difficult to follow the thread of a conversation.

However the cast turn in very fine performances. Stephan’s performance is incredibly touching as the loner who’s practically become a ghost on these hospital corridors. Holloway gives a beautifully understated portrayal of this lost drag queen, resisting the temptation to camp it up. Chitty (the George Clooney of the play) and Bracken have fantastic chemistry as they struggle with their feelings towards one another amongst all this anguish and Goldstein and Caruso are heartbreaking as two parents, destroyed by the loss of their boy.

Yet despite these moving performances, I felt detached from their stories. The heart of the play is great with potentially very moving stories. It just needs a little bit of work to get it pumping properly.

In My Name

In My Name

Writer: Steven Hevey

Director: Julia Stubbs

Trafalgar Studios 2

Yaller Skunk Theatre

1st July – 19th July, 2008

Thursday 3rd July, 2008

Reviewed by Rachel Sheridan for the British Theatre Guide

Take a significant and topical subject matter and present it in a light hearted fashion in order to highlight how society is under estimating the issues that surround us today. This can work, however down play it too much and by the time you actually attack the bone of contention you may find that you have already lost your audience and missed the point entirely.

This is exactly what In My Name attempts to do with its portrayal of the backlash against the violence that is threatening our society at the moment.

Egg (Kevin Watt) is a very confused young man trying to escape from a past that is already one step ahead of him. It all comes to ahead on the day of the London bombings, July 7th, when Egg takes his frustrations out on an oblivious Grim (James Alexandrou) whose couch he has been sleeping on for the last week and Grim’s co-worker, Royal (Ray Panthaki). He projects his own demons onto those around him and issues blame on innocent people for the crimes of a minority.

As one of the Paines Plough writers which has recently produced outstanding work such as House of Agnes I expected something a little more sophisticated from Steven Hevey. The journey from mundane flat life to prison cell torture fails as one’s interest disappears before the supposedly climactic conclusion.

The overly dim witted, layabout, Grim and the gobby, jumping off the walls (from all the coke he’s done – in case we didn’t get it) Royal, transform into two panic stricken men with snot running down their faces. However this comes so late in the play that it is difficult to make the adjustment from sitcom comedy to action thriller.

The play is not exactly bad, but there is nothing impressive about it either. It sort of bumbles along in a Men Behaving Badly kind of way, but its attempt to be provocative and hard hitting is where it unravels. In My Name makes an interesting point in questioning “who am I?” “Who are you?” Although the not exactly subtle comparison between a game of Guess Who and society could have been given a miss.

Whilst the characters are for the most part two dimensional, the fault lays as much with the script as it does the actors. The dialogue lacks any real depth and jumps all over the place in its desperation to cover its subject matter in an innovative manner; forgetting that this is in fact an interesting subject and does not need to be clever to prove this.

Of course it is important to raise awareness and make us think twice about switching over to Friends when the news is on, but don’t underestimate your audience when doing so.

Idina Menzel Concert

Idina Menzel Concert

Ambassadors Theatre

Reviewed by Rachel Sheridan for The British Theatre Guide

Tuesday 20th May, 2008

When Tony award winner Idina Menzel was last in town reprising her role of Elphaba in Wicked, fans camping outside the theatre and queues stretching around the block from stage door were a familiar sight. So it was no surprise when tickets for her one off concert sold out in thirty minutes.

Fresh from playing Florence last week at the Royal Albert Hall’s anniversary concert of Chess, Idina Menzel has also been in town to promote her new album I Stand. Without a doubt this lady can sing but the jump from musical theatre to more mainstream music is a tricky one to negotiate. Not that Idina is in anyway a “newbie” to this scene with two albums already under her belt, however, you’d be forgiven if you hadn’t realised this. After making her name in hit shows such as Rent and Wicked it is undoubtedly the world of musical theatre that Idina is most associated with.

So the question is; can Idina Menzel’s music reach an audience that is not familiar with Elphaba? If last night is anything to go by (and if the musical theatre fans give anyone else a chance to get a ticket next time) I see absolutely no reason why not.

Dressed down in skinny jeans, Idina had as much presence on stage as if she were still riding high on that broom. Retaining her powerhouse voice, but without a hint of “jazz hands” Idina manages to skilfully balance being big with being intimate.

You may have noticed how I’ve casually dropped the formality of referring to her by her full name; I’ll probably be calling her “Dee” by the end. This is due to Idina’s very self-depreciating, familiar way that she has about her, making you feel as if you are friends. As she casually worked the stage, moving between standing to sitting on the stage floor, it felt very natural, rather than contrived familiarity. Idina mixed in little stories about herself or the inspiration behind certain songs, drawing you in, leaving her already dedicated audience hanging on every word. As a result of the intimate nature of this performance I actually found myself really listening to her lyrics and of course Idina’s skill as an actress played its part with her ability to communicate the message and connect with the emotional story of her songs.

The obvious comparisons have been made between Idina and Alanis Morissette. They are both singer-song writers, from the other side of the pond and it has to be said they do look pretty similar. However Idina’s music has a much rockier edge to it and while her songs tell stories, they are less folky. Songs such as "Brave" (her current US single) and "Better To Have Loved" were particularly impressive and really allowed Idina to show off her vocal prowess.

I sense that if Idina had been completely flat all night, this audience would have loved her anyway. However this was not the case and this crowd obviously know when they are onto a good thing. Her song "A Hero Comes Home" has already been used on the soundtrack for the Hollywood blockbuster, Beowulf; exposing Idina to a wider audience and with her superb vocal talent and catchy lyrics I think it’s a safe bet to say that Idina Menzel will be back in our neck of the woods fairly soon, performing to much larger audiences (providing the musical theatre fans will share her!)

Ida Barr: So This Is Christmas

Ida Barr: So This Is Christmas
Written, Produced and Performed by Christopher Green
Director: Cal McCrystal
Barbican – Pit
Running Dates: 10th – 23rd December 08
Reviewed by Rachel Sheridan for the British Theatre Guide
11th December, 2008


Man dressed as a woman – check
Audience participation – check
Innuendos a plenty – check.

All the necessary ingredients for your typical Christmas show, except Ida Barr: So this is Christmas is anything but your typical Christmas show.

Christopher Green is back at the Barbican again with another wonderfully surreal and completely unique Christmas show. For Christmas 08 he comes under the guise of Ida Barr, an established music hall performer. After working in the industry for over 50 years she has now embraced youth culture and imaginatively worked rap and urban beats into her repertoire – innit!

Highly influenced by her recent discovery of urban culture Ida Barr’s dialogue is a strange mix of affected RP and street lingo, as she “arks” the audience questions, and pretty much gets her freak on.

With DJ Godslove Mensah to her right, Ida Barr entertains the crowd with various songs including a little ditty about a shopping trip to Dalston set to the classic tunes of Missy Elliot and Eminem. If at all possible So This Is Christmas is a camper version of the Graham Norton Show. Like a chat show, she sits by her fireplace with a plasma screen inside it telling us what’s in store for the night. A mix of stand-up, songs, guests and of course audience participation all come together in a weird and wonderful way to create this Christmas extravaganza.

On paper it sounds like a hideous disaster – music hall drag queen, bringin’ down the house with topical rap, accompanied by a magician and a singing impersonator; however it works. Yes it could do with tightening up a little and some segments go on slightly too long but overall this Christmas show (which certainly is not for all the family) manages to entice Christmas joy from even your most cynical Londoner.

Forget your pantomimes and their fairytale stories of magical kingdoms, this year it’s all about keepin’ it real and gettin’ down with your bad self for a “wiki wicked” Christmas at the Barbican.

Hit Me – The Life and Rhymes of Ian Dury

Hit Me – The Life and Rhymes of Ian Dury
The Courtyard Theatre
Presented by Irving Rappaport and Playback Theatre
Written & Directed by: Jeff Merrifield

Reviewed by Rachel Sheridan for The British Theatre Guide
27th November 2008

There are those who are familiar with the world of punk and 80’s rock and those that are not. For those who are, Hit Me – The Life and Rhymes of Ian Dury provides the opportunity to wander down; or probably it is more accurate to say, go on a rampage through memory lane. For those who are not, myself included, one would hope to get an introduction to this world that you wouldn’t forget, leaving you hungry for more. However whilst you may leave with a flavour of what this provocative era was like, it’s hardly revolutionary.

After a successful run in Edinburgh for which Jud Charlton received a best actor nomination for his role as Ian Dury, Hit Me has come to London’s East End where it most definitely has a fan base ready and waiting. Chronicling his life from the start of his success in the 80’s to 2000 when he died of cancer, Hit Me aims to not only re-visit his music but also to look at the complex man behind the angry facade that was Ian Dury.

It is understandable why Charlton received his nomination. His physical characterisation of Dury (who contracted polio as a young boy from a local swimming pool) is impeccable and he has a real twinkle in his eye as this man who craves attention and is desperate to create a reaction. However at times his performance slips into that of a caricature as does Josh Darcy as roadie, Fred ‘Spider’ Rowe. Absolutely these characters are larger than life but some scenes become very reminiscent of an episode of the “Young Ones” which of course was a deliberate parody.

Punk was a revolution; it was a reaction to the music of disco not to mention the political and economical environment from which it emerged and yet Hit Me feels safe, it doesn’t break any rules, unless you count the completely indulgent overuse of the F word and C word.

Having said this for fans of this era they will love seeing one of their favourite punk stars reborn on stage. Over the three chapters Dury revels stories from his childhood, the inspiration behind certain songs and gossip from the tour bus, including that of his turbulent relationship with the band The Blockheads, and of course it’s a chance to see classic tracks such as “Hit Me With Your Rhythm Stick” and the scandalous “Spasticus Autisticus” performed.

So whilst Hit Me didn’t leave me wanting to dye my hair pink and attach my nose ring to my ear via some sort of chain, for those with punk already in their blood I’m sure they’ll be more than happy to be hit by Dury’s rhythm stick.

Hello and Goodbye

Hello and Goodbye
By Athol Fugard

Directed by Paul Robinson
English Touring and Treatment Theatre Company
Trafalgar Studios – Studio 2
22nd April – 17th May, 2008

Reviewed by Rachel Sheridan for The British Theatre Guide
Monday 28th April, 2008

A young man sits alone in a filthy, decrepit room. He talks to himself, reciting events with absolute accuracy, speaking as quickly as the words can tumble out.

It is 1965 in Port Elizabeth, South Africa. Only a few years previous Nelson Mandela was imprisoned and South Africa has recently been declared a republic amongst violent rebellions and an aggressive apartheid.

However, we are in this dirty room with Jonny Smit (Rafe Spall) and no matter what the political atmosphere when Athol Fugard wrote Hello and Goodbye, this is essentially a family drama, riddled with guilt, bitterness, fear and ultimately love.

Hester Smit (Saskia Reeves) returns home one night, having left fifteen years previous. This sibling reunion forces the pair to confront memories some of which are deeply buried. Hester believes she is owed inheritance from her sick father and is prepared to literally dig up the past in order to get it.

This superb two hander originally premiered in 2003 at the Southwark Playhouse to critical accalaim and the second time around it doesn’t disappoint. Once again under the direction of Paul Robinson this production is emotionally charged, concerning itself more with the oppressive nature of religion (The Dutch Reformed Church in this instance), rather than that of the apartheid which obviously is not without its influences.

Jonny is physically imprisoned in his childhood home; he is free to leave but emotionally tied. Whilst Hester may have escaped, the emotional connection is equally as strong; binding her and affecting all other relationships.

The chemistry between Reeves and Spall is electric. Seemingly complete opposites; Spall’s Jonny is anxious and erratic with his dishevelled appearance and twitching mannerisms. Living the life of a recluse, his social skills have become some what limited and Spall is completely endearing with his boyish grin and nervous energy. A complete contrast was Reeves who initially presents Hester as the strong and confident sibling; her stylish appearance and hard as nails exterior disguising her ultimately broken centre which is slowly revealed by Reeves.

Hello and Goodbye whilst emotionally wrought also has a great deal of dark humour. Only a brother could get away with saying to his sister, “I dare you to commit suicide”. What could easily have been filled with self pity is in fact lifted, making the story all the more poignant.