A sensationally good new British musical that I couldn’t recommend more. The Curious Case of Benjamin Button at the Southwark Playhouse is something special
“It’s only a matter of time”
Jethro Compton has made me cry before. At the Southwark Playhouse too no less, albeit in its former location, as a young JM Barrie in a truly imaginative staging of The Boy James. This time though, he’s wearing the multiple hats of book-writer, co-lyricist and director of this adaptation of the F Scott Fitzgerald short story The Curious Case of Benjamin Button. And reader, I bawled!
Some of those tears were of joy, at the unexpected discovery of a sensationally good new British musical. With the story’s relocation to Cornwall, Darren Clarke’s (composer, co-lyricist and musical director) score leans heavily into folk song and shanty rhythms to glorious effect. These are songs that feel like they have always existed, elevated by powerful dynamic changes and harmonies to live a life in reverse for. Continue reading “Review: The Curious Case of Benjamin Button, Southwark Playhouse”
I gif my way through the good times of Fats Waller tribute show Ain’t Misbehavin’ at the Southwark Playhouse
“Give em what they want, and when they want it, without a single word to say”
Ain’t Misbehavin’ sees the directorial debut of Tyrone Huntley
And the theatrical choreography debut of Strictly queen-in-the-making Oti Mabuse.
Continue reading “Review: Ain’t Misbehavin’, Southwark Playhouse”
“Fuck off! I’m writing Jane Eyre.”
Mad short of time this week so I’m just firing this up to say don’t miss the final few performances of Wasted at the Southwark Playhouse.
Running time: 2 hours 30 minutes (with interval)
Wasted is booking at the Southwark Playhouse until 6th October
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”
I round up some of the recent casting news, including Queen Margaret at the Royal Exchange, Wasted at the Southwark Playhouse, Measure for Measure at the Donmar and The Woods at the Royal Court.
Shakespeare wrote more lines for Queen Margaret than he did for King Lear yet we know very little of her. Jeanie O’Hare re-acquaints us with one of Shakespeare’s major but rarely performed characters in her new play Queen Margaret. In a production that draws on original language from Shakespeare, director Elizabeth Freestone and Jade Anouka as Margaret, retell an iconic moment in British History through the eyes of the extraordinary Margaret of Anjou. This captivating exploration of The Wars of the Roses seen through the eyes of this astonishing, dangerous and thrilling woman opens the Royal Exchange’s Autumn Winter 2018/19 Season.
Anouka is joined by Islam Bouakkaz (Prince Edward/Rutland), Lorraine Bruce (York), Samuel Edward-Cook (Suffolk/Clifford), Dexter Flanders (Edward IV), Helena Lymbery (Hume), Lucy Mangan (Joan of Arc), Roger Morlidge (Gloucester), Kwami Odoom (Somerset/Richard), Bridgitta Roy (Warwick) and Max Runham (Henry VI). Continue reading “Casting news aplenty!”
For King and Country at the Southwark Playhouse proves an ineffective revival in this centenary year of WWI’s end
“It’s a bit amateur to plead for justice”
Belatedly, I found out that this play hasn’t been performed in London for 30-odd years and in this case, it is tempting to say you can see why. The intent behind John Wilson’s 1963 play For King and Country is certainly honorable, a courtroom drama about a WWI soldier who deserted his post. And Dilated Theatre’s production at the Southwark Playhouse has merit, the idea that it might serve as an investigation into the issues that we now label as PTSD.
But a contemporary lens reflects harshly on the play, particularly through the prism of the writer’s decade. Watching his interpretation of what happened with our current knowledge of war’s psychological impact doesn’t feel like the most effective tribute to our armed forces as we commemorate the centenary of the end of the First World War. My mind constantly wondered why we weren’t hearing either a) a fresh new piece of writing or b) something more historically direct. Continue reading “Review: For King and Country, Southwark Playhouse”
Get your roller-skates on and over to the Southwark Playhouse for a croking revival of Kander & Ebb’s The Rink with a stonkingly good Caroline O’Connor
“Noisy boys, long and lean.
Giggles of girls in the mezzanine”
All sorts of thoughts pass through your mind as you watch The Rink, at least they do if you’re me. Wouldn’t Gemma Sutton be perfect casting in the lead of the inevitable Lindsay Lohan: The Musical; does Jason Winter have the longest legs in musical theatre; does Caroline O’Connor have any trace of a Lancashire accent at all; didn’t Kander and Ebb write fricking fantastic songs for women; and does an ability to roller-skate in a musical make you a quadruple threat?
That’s not to say I was distracted whilst sweltering in the Southwark Playhouse during this preview on Saturday, but rather that my mind was entirely stimulated (not least when Winter does some kind of windmill move on the floor…😃). The Rink is one of those musicals that history hasn’t treated too kindly, despite a premiere that starred Chita Rivera and Liza Minnelli but with Adam Lenson’s expert hand at the tiller, this is a revival to treasure. Continue reading “Review: The Rink, Southwark Playhouse”
Visually striking, an anarchic take on The Country Wife at the Southwark Playhouse
“Write as I bid you, or I will write ‘whore’ on your face”
A swift run through The Country Wife as it is finishing its residency at the Southwark Playhouse this weekend and I’m not too sure I got on with it all too well. Luke Fredericks’ vibrant production for Morphic Graffiti certainly has a muscular visual appeal but I’m not convinced it offers a case for a revival of William Wycherley’s play.
Originally a Restoration comedy, it has been updated to the world of the Bright Young Things of the 1920s. And in it, randy upper class people chase other randy upper class people and… well, that’s about it. Whether through the shift in era or something more deliberate, the women of the story find themselves front and centre, particularly pleasing as it is about them asserting their sexuality.
Continue reading “Review: The Country Wife, Southwark Playhouse”
“We’ve had our fill of grey skies”
I was snowed out of my original trip to Pippin at Southwark Playhouse and it has taken me more than a little while to be able to fit it back into my schedule. But although the production has had some excellent word of mouth, it wasn’t the one for me, unable to shake my feeling that this is a musical of which I’m just not very fond.
Originating at the Hope Mill Theatre last year, Jonathan O’Boyle’s lively production bears the hallmarks of much of the strong work from this new northern mini-powerhouse. An enthusiastic young cast (led here by Jonathan Carlton and Genevieve Nicole), and a rough and ready but charismatic design (Maeve Black) that uses the space well. Continue reading “Review: Pippin, Southwark Playhouse”
“What are you looking at?”
On the one hand, you want to be supporting efforts to take a fresh look at gender in our theatres. On the other, you want there to be clarity and real understanding about what is being done. A big selling point of Philip Ridley’s Angry, a set of six monologues, is that they’ve been written to be gender-neutral and depending on the night you go, they’ll be performed by a man or a woman.
Admirable an enterprise as it is, the term gender-neutral feels like a misnomer though. For the roles are still firmly gendered as variously performed by Georgie Henley and Tyrone Huntley. So in the same way that the Bridge Theatre or the Young Vic whacks up an all-genders sign right next that for the gents or ladies, it is missing the point in not moving to a place that is actually free of the construct of gender. Continue reading “Review: Angry, Southwark Playhouse”