Bodyguard reaches a thrilling climax that is sure to disappoint some but left me on the edge of my seat
“I wanted to know who did it, I don’t know who did it”
Except we do finally know who did it. Jed Mercurio’s Bodyguard – an unexpected massive hit and a reminder that the appointment-to-view model is far from over – reached its climax tonight in typically high-tension style, confounding expectations to the end and dashing the dreams of many a conspiracy theorist to boot. Seriously, so glad that Julia Montague remained dead (at least until a sequel is announced and we have to go through this whole farrago again).
And though it is bound to have its detractors, I have to say I found it all hugely entertaining. If it just wasn’t realistic enough for you, then WTF are you doing watching dramas? If you’re getting swept up in locations in this fictionalised version of London not being where they are in real life, turn the damn thing off! Its not for everyone, that’s absolutely fine, but you don’t have to drag everyone else down with your misery. Continue reading “TV Review: Bodyguard”
Audrey II as a drag queen? Maria Aberg’s take on Little Shop of Horrors at the Open Air Theatre gives me life
“Oh, don’t you see?
Finally I’ll be
Somewhere that’s green”
It’s something of a relief when you’ve seen a version of a much-loved show that is nigh-on perfect, it really does take the pressure off those that follow. So I was able to visit a verdant Open Air Theatre to see Little Shop of Horrors – one of my all-time favourites, if not the actual one – excited by the prospect of what Maria Aberg had done, and secure in the knowledge that Derek Bond absolutely nailed it for the Royal Exchange a couple of years ago.
Chief among her innovations is giving Audrey II much more life than they’ve ever had before, by casting drag queen Vicky Vox in the role. So from twitching, voracious puppet plant (designed by Max Humphries with Tom Scutt) emerges a strutting shrub of sinful sass and it is an inspired choice. Making her a Mephistophelean figure who can prowl around the amphitheatre flips Audrey II into something as thrilling as threatening, Vox revelling in the lasciviousness of “feed me” and the most scathing raised eyebrow you ever did see. Continue reading “Review: Little Shop of Horrors, Open Air Theatre”
A sparkling lead turn from Rebecca Trehearn, and brilliant choreography from Alistair David, enliven this Sweet Charity at Nottingham Playhouse
“Your game makes very good sense”
So pleased to have managed to squeak into Nottingham Playhouse’s Sweet Charity before it finished, this is what everyone uses their annual leave for, right…?! The second major production of the show in recent months following the Watermill’s strong actor-muso interpretation this summer, it is one which makes a bold move in introducing Alistair David’s choreography to give this 1966 musical a fresh lick of paint.
It’s the only real sense of updating that Bill Buckhurst’s production provides but it is an impactful one, David reimagining almost wholesale and invigorating the almost-too-familiar sounds of Cy Coleman’s classic score. In takis’ podium-based design, it looks a dream and more than justifies new AD Adam Lenson’s decision to reintroduce musicals to the programme here after an absence of more than a decade. Continue reading “Review: Sweet Charity, Nottingham Playhouse”
I’m opting not to review Sylvia but rather to haul the Old Vic over the coals for a bit of a shambolic handling of the situation
“Time’s up, there’ll be no more waiting”
Hindsight is a great thing but the team at the Old Vic will have to look back at how they handled the difficult genesis of Sylvia and take some severe lessons. Some things were unquestionably out of their control, like the disruption of cast illness, but others were not. The apparent development of the show from a dance-led piece to a full-blown musical did not happen overnight and so to cite that as an excuse for the piece not being ready, to reclassify the production as a work-in-progress midway through the run is disingenuous to say the least, especially when people are still being charged £45 to see it.
It is a piece that is bounding with potential, clicking into a theatre landscape in London which feels unusually switched on at the moment (Misty and Emilia to name but two kicks up its backside), but we do still feel like we’re in rough draft territory here, hence my decision not to review. (It has provoked some strange reactions in the press though – four stars from Billers? Time Out showing their ass about colour-blind casting?) The music by Josh Cohen and DJ Walde and the book by Kate Prince and Priya Parmar both need substantial refinement from its baggy three hours plus, but you can see the work being put in, and which will continue to be put in until Sylvia re-emerges (next year apparently) better equipped to smash that patriarchy.
One woman, her drums and a whole lotta rage against the patriarchy, Hear Me Howl is a defiant roar at the Old Red Lion Theatre
Jess is pretty sure she’s a grown-up. She can make a granary loaf from scratch; she’s got a steady job (even if she’s forgotten to order the paper clips); hell, she’s even got an ISA. It might only have fifty quid in it but baby steps… She’s also booked in for her first smear test but when the results come up with something unexpected, she decides that she’s in a rut she wants to get out of.
Only problem is, everyone has a lot to say about that. Lydia Rynne’s solo play Hear Me Howl is about a woman’s right to choose. About if and when to become a mother, if and when to adhere to societal conventions, if and when it is ever right to get lost in the noise of a drum solo… And performed with uncompromising directness by Alice Pitt-Carter, it demands that you listen. Continue reading “Review: Hear Me Howl, Old Red Lion”
In covering the many decades of a gay relationship, Play Something misses a little something at the Drayton Arms Theatre
“You have to go through it to get through it”
We all have songs that remind us of loved ones and lost ones, special occasions and sad – the right piece of music can trigger the deepest of memories and emotions. So it is a notion rich in potential to be explored in a theatrical context and that is exactly what Paul T Davies has done with his play Play Something, receiving a short run here at the Drayton Arms Theatre in West London.
The first half of the play is constructed as something of a memory play. Older versions of the two characters watch on as their younger selves act out key scenes from their relationship and since music unlocks so much of that sensory memory, they intermittently call out to the onstage DJ ‘play the one to make love to’, ‘play the one for a celebration’, ‘play the Forever Song’… Continue reading “Review: Play Something, Drayton Arms”
I have a gay old time with warm-hearted new musical Unexpected Joy at the Southwark Playhouse
“I wanna show you what a woman can do”
One way to assess whether we’re getting closer to true equality when it comes to telling LGBT+ stories is when we can safely say that there’s a diversity in those stories. I can fully appreciate why some might feel frustrated at the simple primary colours of this coming-out story, of its (relatively) uncomplicated emotion but at the same time, isn’t it great to see a lesbian take on a mainstream rom-com trope, aimed at the silver pound to boot.
The Joy of Unexpected Joy is a baby-boomer era who is marking the one year anniversary of the death of Jump, her creative and life partner. And as she prepares for a concert celebrating his music, she invites her estranged tele-evangelist daughter and grand-daughter to share in the moment. And also to break the news that she is getting married, to a woman – that’s the unexpected bit, testing the familial bonds between these three generations of women. Continue reading “Review: Unexpected Joy, Southwark Playhouse”
An anti-war polemic in verse? Square Rounds has no right to be as good as it is at the Finborough Theatre!
“When I pioneered the process I had in mind
Only benefits and blessings for mankind”
You spend so much effort and labour and time
When trying to make all your words somehow rhyme
So how you would write a whole play that does so
Is downright impressive, that’s something you know
Espec’lly since Square Rounds is not so dramatic
But more of an anti-war talk, so dogmatic
Though new life is brought by a d’rector called Jimmy
Whose insight and forethought makes ev’rything shimmy
It’s unlike most other things you can now see
And its all-female cast will just fill you with glee
But Finborough and Haddock are hard words to rhyme
So I think this format has now done its time Continue reading “Review: Square Rounds, Finborough Theatre”
Some of the beauty of Flowers for Mrs Harris gets lost at Chichester Festival Theatre but it remains a striking new musical
“It’s a work of art… something not real, made to make you feel”
I had much love for Flowers for Mrs Harris when it premiered in Sheffield a couple of years ago, and so I was delighted to see Daniel Evans deciding to revive it at his new abode over in Chichester. My only cavil came with the placing of this most heartfelt musical in the vast space of the Festival Theatre rather than the intimacy of the Minerva where it might perhaps have been better served.
So much of the beauty of the show (book by Rachel Wagstaff from Paul Gallico’s novel, music & lyrics by Richard Taylor) comes from the fact that it isn’t a bells and whistles epic. It is something far more subtle that truly celebrates the ordinary in extraordinary, as Clare Burt’s charlady Ada Harris dares to dream of owning a Christian Dior dress and in working to achieve that dream, illuminates the lives of those around her.
Continue reading “Review: Flowers for Mrs Harris, Chichester Festival Theatre”
Too short a run and too short a play? I just about make it to God of Carnage at the Theatre Royal Bath
“Are we ever interested in anything but ourselves?”
A criminally short run for Theatre Royal Bath’s production of God of Carnage, especially since it has er’ from Downton and ‘im from The Royle Family and ‘her from Sherlock and *swoon* Nigel Lindsay in it. I was barely able to fit it into the diary but a sweeping trip to the West Country at the weekend meant I got in just before the final show.
Yasmine Reza’s ferociously savage take on middle class mores was seen in the West End a decade ago and appears to have lost none of its bite. As two well-to-do families come together to discuss a playground incident between their children, the thin veneer of respectability as they tiptoe around the delicacy of the situation is soon ripped away and a real ugliness revealed. Continue reading “Review: God of Carnage, Theatre Royal Bath”