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“Do you know why I’m doing this?
‘Cos the lesbians said you were bossy’”
In a close-run thing, Tom Wells’ Jumpers for Goalposts ended up in second place on my list of favourite shows of 2013, its undeniable warmth and unfettered romance proving a hugely winning combination and one which I’d already been to see three times – twice earlier in 2013 at Watford and once as it started its run at the Bush, the final stop on its tour. The joy it brought me even on that third trip meant that when a potential trip to the final show of the run of this Paines Plough, Watford Palace Theatre and Hull Truck Theatre production was mooted, I could not resist.
And once again, the show filled my heart to bursting with its utter loveliness, making me laugh, cry, shiver and sigh all over again. Review #1 can be read here, re-reviews #2 and #3 here, and that’s about it really. I’m so glad I went to see it one more time, I’m gutted that I can’t see it again and I look forward to the first revival wherever it may take place, I can pretty much guarantee I’ll be making a trip to see it. Thank you to all involved in making such a wonderful piece of theatre that will stay with me forever.
Running time: 90 minutes (without interval)
Booking until 4th January
|Best Actress in a Play||Marianne Jean-Baptiste, The Amen Corner||Michelle Terry, A Midsummer Night's Dream (Globe)||Lucy Ellinson, Grounded
Stella Gonet/Fenella Woolgar, Handbagged
Lesley Manville, Ghosts (Almeida)
Shuna Snow, Iron
|Best Actor in a Play||Philip Duguid-McQuillan & Jamie Samuel, Jumpers for Goalposts||Al Weaver, The Pride||Brian Cox, The Weir
Hugo Koolschijn, Scenes from a Marriage (Toneelgroep Amsterdam)
Benedict Wong, Chimerica
|Best Supporting Actress in a Play||Linda Bassett, Roots||Deborah Findlay, Coriolanus||Anna Calder-Marshall, The Herd
Isabella Laughland, The Same Deep Water As Me
Hadewych Minis, Scenes from a Marriage (Toneelgroep Amsterdam)
Cecilia Noble, The Amen Corner
|Best Supporting Actor in a Play||Pearce Quigley, A Midsummer Night's Dream (Globe)||Roeland Fernhout, Scenes from a Marriage (Toneelgroep Amsterdam)||Richard McCabe, The Audience
Jeff Rawle, Handbagged
Andy Rush, Jumpers for Goalposts
Alexander Vlahos, Macbeth (MIF)
|Best Actress in a Musical||Rosalie Craig, The Light Princess||Cynthia Erivo, The Color Purple||Zrinka Cvitešić, Once the musical
Anita Dobson, Carnival of the Animals
Scarlett Strallen, A Chorus Line
Charlotte Wakefield, The Sound of Music
|Best Actor in a Musical||Kyle Scatliff, Scottsboro Boys||Declan Bennett, Once the musical||David Birrell, Sweeney Todd
Nick Hendrix, The Light Princess
Matt Smith, American Psycho
Michael Xavier, The Sound of Music
|Best Supporting Actress in a Musical||Leigh Zimmerman, A Chorus Line||Nicola Hughes, The Color Purple||Amy Booth-Steel, The Light Princess
Katie Brayben, American Psycho
Cassidy Janson, Candide
Sophia Nomvete, The Color Purple
|Best Supporting Actor in a Musical||Kit Orton, The Hired Man||Michael Matus, The Sound of Music||Ben Aldridge, American Psycho
Christian Dante White, Scottsboro Boys
Kane Oliver Parry, The Light Princess
Gary Wood, A Chorus Line
Best Supporting Actor in a Play
Pearce Quigley, A Midsummer Night’s Dream (Globe)
Taking on as famous a role as Nick Bottom has plenty of pitfalls, but Pearce Quigley fearlessly took up the challenge in Dominic Dromgoole’s revelatory and riotous production at the Globe and delivered a wittily sardonic Bottom that made him one of the most comic parts of one of the funniest productions of the year.
Honourable mention: Roeland Fernhout, Scenes from a Marriage (Toneelgroep Amsterdam)
Due to the randomness of the design of the first act, it was pure chance that my first encounter at Toneelgroep Amsterdam’s Scenes from a Marriage was with Fernhout and Hadewych Minis’ version of Johan and Marianne. But from the very first moments, his intensity sucked us right in whilst the twinkle in his eye (plus his predilection for mingling in amongst the audience) made him a hugely magnetic presence.
Best Supporting Actor in a Musical
Kit Orton, The Hired Man
Though his rugged charms are undeniable, Orton more than earned his place here in the delightful actor-musician production of Howard Goodall’s The Hired Man that graced Colchester and Leicester. A compellingly masculine presence as the flirtatious Jackson and beautifully-voiced throughout, he also revealed himself to be a dab hand on the fiddle, demonstrating all the strings to his bow.
Honourable mention: Michael Matus, The Sound of Music
Across a sterling ensemble, Matus’ huge geniality as fixer Max Detweiler was a highlight in the Open Air Theatre’s excellent The Sound of Music, his avuncular charm a pleasure to watch and a great way to subtly reinvent the role for himself.
“Remember thinking: I am quite an average man. Never thought I’d feel…”
A third visit to this play for me – Jumpers for Goalposts may have just opened at the Bush Theatre this week but this Paines Plough, Hull Truck and Watford Palace Theatre production premiered earlier this year in Watford where it utterly stole my heart and tempted me back for seconds despite the short run. Since then it has toured the UK and now ends up in the West London venue where writer Tom Wells had such success a couple of years ago with The Kitchen Sink. And in those intervening months, assisted by the intimacy of the Bush, the play has grown into something even better, even more affecting in its charming lo-fi way.
My original review says much of what I still think of the play, but I don’t think one can understate the importance of this piece of writing. The trials and tribulations of Barely Athletic, the five-a-side football team at the heart of the play are strongly, vividly portrayed, but as entirely recognisable experiences that might befall you or I. And as three of the five happen to be gay men, it holds a particular resonance for me – has a playwright ever evoked the reality of the aftermath of being gay-bashed so effectively, the mundanity of actually just having to get on with everyday life rather than focusing on the intense drama of the crime itself. Continue reading “Review: Jumpers for Goalposts, Bush”
“If you don’t have a go, you definitely won’t score”
One can re-read a book and re-watch a film on DVD at leisure, but the window for revisiting pieces of theatre, especially those on limited runs, is much narrower and it is a different kind of decision to make. It’s not every play that I want to see again – sometimes the best nights are ones that I don’t want to try and repeat for fear that they won’t live up to expectations – but on occasion, I leave the theatre just knowing that I have to make a return trip. It’s not something I always act on and that way leads regret – I really wish I’d gone back to Tom Wells’ The Kitchen Sink at the Bush Theatre so when I fell head over heels for his latest play Jumpers for Goalposts, I was determined not to make the same mistake again.
My original review can be read here and given that it was less than two weeks ago, there’s not a huge amount more to say about how much I loved it. But what made me want to come back was the detail of the writing, every scene is so rich in comic detail that it was easy to miss some absolute crackers first time round. And since James Grieve’s production is so very effective at generating the intimate banter-filled environment of this group of five people pulled together to play in the Hull Gay and Lesbian five-a-side football tournament, I found real joy in just sitting and listening these characters bounce off of each other. Continue reading “Re-review: Jumpers for Goalposts, Watford Palace”
“Next season, we’re aiming for third”
Some might cite Tom Wells’ new play Jumpers for Goalposts for its slightly fantastical air and lack of serious dramatic tension, but that would be to entirely miss the point of its warm-hearted yet clear-sighted pleasures. The play follows a predominantly gay five-a-side football team –Barely United – in Hull, scraped together from a selection of misfits and gradually unwinds to reveal their reasons for signing up and the impact that being part of this team has on their lives. But though it is gentle rather than grand, it is a hugely affecting and uplifting piece of theatre that feels vitally important from a writer who genuinely can find the extraordinary in the ordinary.
In previous plays such as the tender Me, As A Penguin and the glorious The Kitchen Sink, Wells has demonstrated a gift for exploring the challenges of young gay life outside of the big cities and a serious talent for understated but highly comic writing and both are brought to bear here with great effect. Beardy Geoff splits his time between seducing the opposition and coming up with a song to win a talent show; head coach Viv wants to score revenge on the Lesbian Rovers team that kicked her out but also offer some respite to her grieving brother-in-law; and Danny, struggling to get through his coaching qualification, is entirely distracted by new arrival Luke, a painfully shy librarian. Continue reading “Review: Jumpers for Goalposts, Watford Palace Theatre”
“It’s about bloody, making a little change. Letting some tiny changes happen without the world ending.”
One of the things I love most about theatre is that it can be equally effective when being intimate and small-scale as when it is epic and showstoppingly huge. Tom Wells’ new play for the relocated Bush Theatre – The Kitchen Sink – falls into the first category and is all the more powerful for it. In fact, I would wager that it is probably one of the best pieces of new writing to appear on the London stage this year.
Set in the Yorkshire seaside town of Withernsea, Wells’ play focuses on a family of four for whom life isn’t quite going exactly the right way. Dad Martin is a milkman but the milk float is falling to pieces and the demand just isn’t there like it used to be; Billy is an art student hoping to get a place at a London art college but simultaneously terrified at the prospect, and his sister Sophie is training to be a jiu-jitsu teacher but is having issues with her teacher. In the middle of them all is mum Kath, a dinner lady with an irrepressible perkiness that is determined to keep her husband and kids going through their respective crises, but there’s something wrong with her sink that threatens to test even her patience. Continue reading “Review: The Kitchen Sink, Bush Theatre”