Kissed by Brel

Directed by Geoffrey Hyland
Jermyn Street Theatre
Playing until 9th August

Reviewed by Rachel Sheridan for the British Theatre Guide

“He goes to the limit of his strength because, through his singing, he expresses his reason for living and each line hits you in the face and leaves you dazed” – Edith Piaf

Having just been introduced to the work of Jacques Brel I’d have to say that Ms Piaf hits the nail right on the head with this description.

I say introduced, in fact I was, without realising already acquainted with some of Brel’s work as his music has been recorded by many well known artists including Frank Sinatra, David Bowie, Neil Diamond and Nina Simone to name but a few.

Jacques Brel’s songs cut right to core as he expresses his feelings about love, friendship, hatred of women and anti-conformism in the most poetic of ways. Compared by some with Bob Dylan, Brel’s use of expression such as, “I’d be the shadow of your shadow if I thought it would keep you by my side” sung to a loved one or “we skinned our hearts and skinned our knees” to an old friend from a death bed sends shivers down your spine (to use a cliché, which of course Brel would never do).

South African, Claire Watling is paying her respects to Brel in her one woman show Kissed by Brel. Fresh from her success in South Africa, Watling sets off where Brel finished by continuing to tell his stories; which is exactly what Brel’s songs are. They are stories which need to be more than sung; they need to be communicated. Watling wears her heart on her sleeve and is often overcome by the emotion of songs such as “Seasons in the Sun” and “If You Go Away”. However she also plays around with the chirpier and suggestive numbers like “Madeleine”, showing off Brel’s wicked and dry sense of humour, whilst her rendition of “Amsterdam” reflects Brel’s darker side.

On stage with accompanist Godfrey Johnson, Watling owns the space, although she’s in danger of being upstaged by her purple shawl which she wears in a different style for each song and constantly plays with.

Watling doesn’t have the greatest voice in the world. At times she struggles with the top belts and some notes fall a little flat but more importantly it is her ability to capture the soul of each song appealing to those that are already fans and newbie’s like me.

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.

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.