Exciting drama from Grime poet Debris Stevenson ★★★★★
Poet in Da Corner is the semi-autobiographical tale of Debris Stevenson and how she was inspired by grime music to become a poet.
Although the word ‘grime’ suggests ‘grim’, in fact it’s not. It’s an uplifting, exhilarating story of an adolescent woman struggling with her dyslexia, her sexuality and her strict Mormon mother. The teenage misfit makes friends with a young grime artist who encourages her to be real in the way grime artists are true to themselves and their background.
I really warmed to these two friends who love and respect each other and who are trying hard in difficult circumstances. Debris Stevenson plays herself and Jammz plays her friend and mentor.
It’s a show full of tempestuous relationships, lyrical language, and a lot of humour. There’s a moment both shocking and funny when her angry but nonviolent mother slowly pours a gallon of milk over her brother.
The title is a reference to the seminal Dizzee Rascal album Boy In Da Corner that was the spark that lit Debris Stevenson’s fire. The play uses an imaginary character SS Viper who represents grime artists and Debris’ best friend at school. He sees her as privileged because she’s white and her mum makes her sandwiches for school lunch. As an adult, he berates her for appropriating grime- and his work in particular- when she’s not from a black disadvantaged background.
But in the course of the play we see how she used grime as a pathway out of her own disadvantages.
Viper takes her to task for leaving the neighbourhood and losing contact with him. She responds: ‘Helped other people cause I couldn’t help you / took responsibility with privilege too. / But I ran away from me when I ran away from you.’ How she develops and whether the rift can be healed is the subject of the play.
The set, designed by Jacob Hughes, is a bare stage that uses minimal furniture. In a Brechtian way, it is made clear the scenes from the past are being acted out for us and the present day adults comment on them. So we don’t get emotionally involved with the characters. But we do care about them and we see the world of disadvantaged working class kids from a sympathetic perspective- not the gangs, aggression and crude misogyny which is the tabloid image of grime.
The talented Stacy Abalogun and Kirubel Belay play the mother, brother and other parts in this exciting evening directed by Ola Ince. The evening ends with the audience dancing as Jammz performs his excellent song Lemonade Man.
I have heard songs by Dizzee Rascal and Stormzy but I couldn’t imagine listening to whole album or going to a concert because my ears find the 140 bpm and the heavy bass difficult. After seeing this show, I now have a new respect for grime and the artists who produce it and I appreciate the quality of the lyrics. There’s a singular quote from Dizzee Rascal that is used in the play: ‘The skies are all empty because the stars are on the ground.’
If you have the opportunity to see Poet In Da Corner as it tours, please do. Even if you think grime (or poetry for that matter) is not for you, do it anyway.
Janie Dee leads delightful revival of The Boy Friend ★★★★
Even when it was first performed in 1954, Sandy Wilson’s The Boy Friend appeared to hark back to a bygone era, a time of flappers and musical comedies, that preceded the then modern muscular realist musicals like Oklahoma! That it still appeals 65 years later suggests that the secret of its longevity is that it is set not so much in the past as in a world of its own.
This is a world where rich young English ladies attend a finishing school under the benign supervision of Madame Dubonnet, in which English reserve melts in the warmth of the Mediterranean sun and the charms of the French, and in which a little deception and misunderstanding are mere ripples on a smooth voyage to romance and happiness. Put simply, its appeal is that it offers us a utopian world of innocence.
There isn’t much plot to tell you about. A young heiress wants to be loved for herself not her money. She meets a poor delivery boy, they fall in love, but he’s not all he seems. Don’t worry it all works out. In fact, it all works out for everybody’s love lives.
Sandy Wilson could have tried harder to incorporate some less predictable twists or more plausible predicaments but that’s not the point. The point is, to escape to this fantasy world for a couple of hours and bathe in the brightness of the song and dance.
Romantic jaunty and poignant song and dance
Mr Wilson’s delightful songs aspire to Cole Porter and, while not actually reaching the great man’s heights, there is a lot of humour in lines like ‘The mere idea of living in a palace is, so full of fallacies’. Memorable numbers include the romantic I Could Be Happy With You, the jaunty It’s Never Too Late To Fall In Love, an unexpectedly poignant Poor Little Pierette and of course The Boy Friend. A quick word of praise here for Simon Beck and his live orchestra for driving the show at a jolly pace.
In the intimate space of the Menier, the kicks are so high and the lifts bound so far across the stage that people in the front row may need to duck. Among the many glorious dances, there’s an infectious Charleston performed by Gabrielle Lewis-Dodson and Jack Butterworth (both talented performers to watch out for in the future) and an amusing tango in which the couple come to blows while maintaining the moody moves.
The splendid chorus lines extend to the girls speaking in unison as they flirt with their potential husbands. In fact, given that choreographer Bill Deamer is listed as associate director, it is hard to say where his choreography ends and Matthew White’s direction begins. But all praise to Mr White for honouring the gossamer lightness of this musical while introducing enough down-to-earth physical comedy (with homage to vintage TV) to keep a contemporary audience happy. For example, when the stern French maid Hortense, played with gusto by Tiffany Graves, describes the demureness taught at the school while leaving her legs wide apart as she crosses them. Shades here of Kenny Everett.
Adrian Edmonson squeezes every laugh he can
There’s a touch of Benny Hill when Adrian Edmonson, once a Young One, appears as an old English lord, whose lechery is thwarted at every turn. It’s behaviour we wouldn’t expect to find funny anymore but in the world of The Boy Friend, even lechery is innocent fun and Mr Edmonson squeezes every laugh he can out of it. He even eats an ice cream lasciviously.
And he is just one of a terrific cast brought together in this Menier production. It’s led by one of the great musical stars of the older generation Janie Dee who steals every scene she’s in with her ‘Allo ‘Allo style French accent (another blast from the TV’s comedy past) and her knowing smile, especially when she seeks to rekindle an old romance with ‘Petit Percy’ played by an appropriately starchy Robert Portal.
And it’s a pleasure to see a star of the new generation Amara Okereke in the lead role of Polly Browne. Her sweet soaring voice and subtle acting convey both the strength and vulnerability of a young woman looking for love. Dylan Mason plays her suitor with fresh faced innocence.
Paul Farnsworth’s simple Mediterranean blue set is entirely appropriate and his 1920s style costumes are bright, elegant and fun.
You won’t come away from The Boy Friend feeling you’ve had a substantial meal but you will have enjoyed a superb sorbet.
Located in the heart of the West End, The Garrick Theatre is 130 years old. It’s named after the 18th century’s most famous actor David Garrick. It is now part of the Nimax group of theatres.
The style is what the Grade 2 listing calls ‘eclectic classicism’. That eclecticism takes in rococo extravagance and lots of beautiful gold leaf.
With less than700 seats, it’s one of the smaller West End theatres. There are a lot of pillars and a overhang so many seats in the Stalls potentially have a restricted view depending on the production. The best views are in the centre of the front half of the Stalls, particularly from row G where the rake begins to row M after which you may be affected by the circle overhang. The centre of the Dress Circle also offers a good view albeit with slightly cramped legroom. Avoid the third of seats on either side which may have a restricted view.
The legroom is tight in the Grand Circle- the highest level- so don’t choose to unless you’re desperate or you’re looking for a cheap ticket.
You’ll find the Garrick Theatre in Charing Cross Road, very close to Leicester Square and Trafalgar Square. You enter at Dress Circle level.
TIP: There is a bar in the foyer but if you are sitting somewhere other than the Dress Circle, then you’re best to go to the Stalls or Grand Circle where there are also bars. If you don’t mind the stairs, I’d go up to the Grand and enjoy the view.
There are toilets at every level, in fact they’re one of the best West End theatres for Ladies toilets.
Tom Chambers stars in tour of vintage crime drama ★★★
I suspect Dial M For Murder seemed more thrilling when it was first performed seventy years ago. The latest touring production, which I saw on the opening night at Richmond Theatre, doesn’t exactly have you on the edge of your seat, certainly not jumping out of it. However it still has a clever plot with a few excellent twists. And there’s considerable fun, intrigue and excitement to be had as you wonder whether the criminal will be caught and, if so, how.
This Simon Friend Entertainment production, directed by Anthony Banks, is faithful to the spirit of the original stage play byFrederick Knotton which the Alfred Hitchcockfilm was based. Tony Wendice, an impecunious former tennis player, plans to murder his rich wife because she has fallen in love with someone else and he doesn’t want to lose his cash cow. He recruits an old acquaintance with a need for money and a leaning towards crime. It could be the perfect murder… unless he makes a mistake.
Like top players in a tennis match
The set up is slow and wordy but once it gets going, especially when events cause Tony to improvise, the play becomes quite gripping- like watching a high level tennis match in which he quick wittedly returns whatever ball comes over the net.
Fortunately the production is blessed with two fine players in the lead roles. Tom Chambers as Tony is wonderfully louche with an amusing habit of striking tennis playing poses. On the other side of the net, Christopher Harper’s police inspector is a worthy opponent. He exudes authority, intelligence and determination. I particularly enjoyed his increasing animation as he believes he’s closing in on the guilty party.
The production also stars Sally Bretton and Michael Salami .
The play was written in 1951 and the clipped dialogue and repressed emotions are typical of the time. In fact, I’m not sure why director Anthony Banks has transferred the action to the more unbuttoned sixties when an affair and the planning of a murder were more shocking in that earlier decade.
The production pays homage to forties and fifties cinema. It uses chiaroscuro lighting at various times which I am assuming is intended to summon up the feel of an old detective film. I’m sorry to say I found the shadows more reminiscent of a power cut than a film noir.
On the plus side, David Woodhead’s angular set with much early Sixties detail gives a good sense of both the period and of the striking camera angles used by Alfred Hitchcock.
By the way, there’s an inadvertent spoiler in the programme’s cast list so I advise not looking at that until the interval.
If you fancy a night out, you could do a lot worse than this diverting entertainment.
Dial M For Murder can be seen at Richmond Theatre until 18 January 2020. It then tours to Norwich Theatre Royal 21-25 January, The Orchard Theatre Dartford 27 January-1 February, Yvonne Arnaud Theatre Guildford 4-8 February, Theatre Royal Bath 11-15 February, His Majesty’s Aberdeen 17-22 February, King’s Theatre Edinburgh 24-29 February, Theatre Royal Glasgow 3-7 March, Salisbury Playhouse 10-14 March, Churchill Theatre Bromley 17-21 March, Palace Theatre Southend-on-Sea 23-28 March, Dubai Opera House 7-11 April, Milton Keynes Theatre 14-18 April, The Alexandra Birmingham 20-25 April, New Theatre Cardiff 28 April-2 May, Curve Leicester 4-9 May, Lyceum Theatre Sheffield 12-16 May, Liverpool Playhouse 19-23 May, Theatr Clwyd 25-30 May, Theatre Royal Brighton 2-6 June, Theatre Severn Shrewsbury 9-13 June, The Lowry Salford 16-20 June, Royal & Derngate Northampton 22-17 June, Theatre Royal Plymouth 30 June-4 July, Leeds Grand Theatre 7-11 July, Wolverhampton Grand Theatre 14-18 July 2020. Booking details can be found on the tour website dialmformurderplay.com
Paul Seven Lewis was given press tickets to review this production
WARNING: THIS REVIEW CONTAINS SPOILERS.Invited critics were asked not reveal twists but it’s impossible to review why this play is so powerful without saying how and why. I paid for my ticket so I feel free to discuss the whole play.
‘What are you looking at?’ says the wife to the husband right at the beginning of Fairview at the Young Vic. And that really is the question. What are we looking at? The answer seems to be a well-off African-American family preparing for a special occasion. But there’s something not quite right. Is Jackie Sibblies Drury’s play going to be a family drama set around a dinner party with bickering, jealousy and secrets such as we’ve seen many times over the years? Or is this more like a pastiche of a US sitcom? The set, designed by Tom Scutt, is so bright and clean and detailed that it could be made for HD TV.
The characters are black, yes, which in our world of middle class theatre is unusual, so we may anticipate that race is going to figure. Then again, these are middle class people. Shut your eyes and the characters could be any colour: the wife Beverly played by Nicola Hughes with a perfect mix of bossiness, insecurity and affection, the playful husband Dayton played with a cheeky likeability by Rhashan Stone, Naana Agyei-Ampadu squeezing all the comedy she can from the fashion conscious, faddy sister Jasmine, the sensitive rebellious daughter Keisha played by Donna Banya, plus, off stage, the unreliable brother hoping for a partnership in his firm, the daughter’s friend and the mother who won’t come downstairs. All very amusing but fairly predictable archetypes.
There are peculiar moments in this first act that make you suspect there is more going on: the radio malfunctioning briefly, a tendency for the characters to break into dance, the daughter appearing in a spotlight to express her discomfort with the situation.
As if a brick wall has collapsed on you
Then we come to act two and everything changes. It’s as if a brick wall has collapsed on you. From here on in, we are in no doubt this is about race and we are looking at what it means to be black: the white gaze, the stereotypes, the cultural appropriation. Not that Jackie Sibblies Drury presents a simple lecture. Fairview is subtle comedy with many layers, presented with a unique theatricality and directed with flair by Nadia Latif. The twists are jaw dropping and lead you to question what happened in the first act and who these people are. So please don’t read any more if you don’t want to spoil those dizzying surprises.
Act two repeats act one but this time it’s acted out silently while the radio- maybe the radio- provides a commentary from four white people. Who are they? They could be the creators of the characters we are seeing or they could be simply ciphers for the white gaze. Anyway they digress into a discussion about what race they would like to be, each time coming up with stereotypical views of those races, ending with black, where they conclude they wouldn’t want to be the kind of middle class black people we are viewing because they are boring. It’s poor black people who are interesting- the rappers, the loud mamas. The voice who would like to be black remembers her black maid.
This does go on a bit but then there’s a delightful moment when the characters on stage, previously unsynchronised, segue into apparently mouthing what the voices are saying, even though we can remember that this wasn’t the dialogue from the first act. So, in a way, the characters come together in a prelude to the third act.
An uncomfortable evening for those ‘identifying as white’
Because, if that wasn’t enough, we then pick up story of the family and it’s not long before the characters we previously heard talking decide to come on to the stage to spice up this middle class family with black characters who are more ‘interesting’. So the missing brother appears as a rapper, although his sister is still asking how the partnership is going. The mother appears twice, once as the remembered black maid, a history Beverley contradicts. The white people confuse, question and provoke the black people. The black people object to being told what they are. It all ends in an amazing food fight.
Then in a final coup, the daughter invites those in the audience ‘identifying as white’ to come up on stage and see what it feels like to be in the spotlight. To not be ‘normal’, but instead to be focussed upon, expected to perform in a certain way, simply because of the colour of your skin. The actors leave the stage; many of the audience climb on to the stage including me. I’m uncomfortable with defining myself by race but I wasn’t going to pass up the opportunity to see the view from the stage.
It was an interesting experience. The lights are blinding. You can’t see the audience (or what’s left of it). You go from being an anonymous member of that audience to being the focus of attention. I tend to think that theatre is about letting you into other people’s lives or letting us see ourselves in different ways but this really took it from an intellectual exercise to a physical one.
Because Fairview is an American play, it wasn’t as much a punch in the guts for me as it clearly was to audiences when it first performed in the US where there is a history of slavery and segregation. Black people in this country have been and are subject to racial prejudice but they have never been divided from the white population. It would be much harder to write a play which involved stereotyping a black British culture.
A subtle layered comedy
Not that Jackie Sibblies Drury presents a lecture about racist stereotypes and cultural appropriation, except right at the end. If she did, I might be saying that she wasn’t telling us much we didn’t know already. Instead she starts with a middle class family, and thereby acknowledges that education and money are levellers. She subtly shows that even they are aware of what is expected of them which manifests as what you might call watered down stereotypes, a tendency to break into dance for example. She also presents the white people as stereotypes (the camp gay man springs to mind) which suggests that Fairview is not only about race.
I took from the evening a strong plea to take individual people as you find them- with a fair view- rather than imposing preconceptions or prejudices. Anyone could be a victim of prejudice if they are in an underprivileged or weaker group.
That’s what I came away with but this is such a good play that I think people, depending on their backgrounds and prejudices, will have come away with many different reactions. Even if you see it and decide, as some critics did, that Fairview is divisive or outdated, you will come out thinking and talking about it long after the audience have left the stage.
Fairview can be seen at the Young Vic in London until 23 January 2020.
I’m pretty sure I’m not the target demographic for & Juliet but I loved it.
It’s a jukebox musical which is an art form usually well down the West End hierarchy. It features the work of Max Martin whom I’d never heard of until now. Although I vaguely recognised a lot of the songs, they arrived a long time after I lost interest in teens and twenties music. The choreography is mainly street dance, which I admire but am usually unmoved by. The plot is a love story with a strong dose of girl power which I applaud but the story is too lightweight for me.
And yet love it I did. Why? Because the songs are actually great. The performers generate enough energy to power Regent Street lights. The costumes, the set, the sound quality (great to be able to hear the words) and most of all the singing are phenomenal. If the director Luke Sheppard were a football manager, he’d be winning the Premiership.
The show features nearly 30 hits from the most successful songwriter of the last 20 years, Max Martin – songs like ...Baby One More Time, It’s My Life, Roar, Oops I did it again, I Kissed A Girl, Can’t Stop The Feeling and many more which fit like a glove around the story. The plot imagines Juliet living on after Romeo’s death and going on to write her own story.
It’s presented as a kind of workshop in which at Anne Hathaway’s insistence, her husband William Shakespeare rewrites the ending of Romeo & Juliet. She wants it to be about empowering women and about finding true love. She wants the love to spread beyond the traditional romantic leads. She even writes herself into the plot. Will tries to undermine this, partly to inject some conflict and setbacks into the drama but also to re-build his male ego.
It’s not quite F—ing Perfect (another Max Martin song). David West Read’s book has some cheesy moments, unlikely plot twists, cliche characters and terrible puns but it is all tongue-in-cheek and, as in all good musicals, you are carried along by the emotion of the music more than the words in between. And you definitely Can’t Stop The Feeling!
Miriam-Teak Lee: Stardom beckons
There’s slick street dancing choreographed by Jennifer Weber. Paloma Young’s colourful costumes nod to Elizabethan symbolism as well as today’s streetwear. Soutra Gilmour’s set joins in the fun by melding various centuries plus street art and pop culture and giving many opportunities for the principals to spin round and to rise into the air. (It’s been a good year for Gilmour with her stark dramatic set for the Regent’s Park Open Air Theatre’s Evita helping the show win an Evening Standard Award for Best Musical.)
Then there’s the cast. I was exhausted just watching them. Miriam-Teak Lee is destined to be a great star. I thought she was outstanding in the Open Air Theatre producton of On The Town, this time she blew me away with her Juliet- a powerful voice and a strong character mixing strength, emotion and comedy.
Matching her is Cassidy Janson as Anne Hathaway. This musical is as much about her disappointment in her relationship with Will as anything and her poignant rendering of That’s The Way It Is is a highlight of the show.
The third in the triumvirate of strong women in this show is Melanie La Barrie as the Nurse. Her comic performance deservedly got the most laughs. She has a heartwarming mature love affair with the poised Lance, charmingly played by David Bedella, who is bowled over by love.
This is a musical in which women dominate so generally the male characters fare less well. William Shakespeare (Oliver Tompsett) is a deliberately one dimensional sexist. Juliet’s gay friend played by Arun Blair-Mangat is a cliche. His love interest Francois (Tim Mahendran) is lightly drawn. Romeo is amusingly shallow and given an appropriately preening performance by Jordan Luke Gage.
Much to my own amazement, I came out of the theatre singing I Want It That Way and I’d be delighted to see & Juliet..Baby, One More Time.
& Juliet is performing at the Shaftesbury Theatre in London. For tickets, visit the official website shaftesburytheatre.com
Paul Seven Lewis was given complimentary review tickets.
Click below to view this review on my YouTube channel One Minute Theatre Reviews
We know a lot more about Alan Turing, the subject of Breaking The Code, than we did when Hugh Whitemore wrote the play in the mid 1980s. His once secret work on breaking the Enigma code during World War Two, possibly saving millions of lives, is now well publicised. The government has apologised for the appalling treatment he received because of his homosexuality and he has been pardoned for his ‘crime’. He has been the subject of an excellent film The Imitation Game and his face will soon be appearing on the £50 note.
Unlike the aforementioned movie, Breaking The Code concentrates on the prejudice against homosexuals. It does cover the wartime code breaking but the code he is breaking in this play is society’s code which dictates how we are supposed to behave. And while homosexuality may now be legal in Britain and widely if not universally accepted as natural, there are always unfair rules imposed by the society we live in and the play is a plea for valuing those people- scientists, artists, whoever- who question and break those rules. The story of this brilliant mathematician adds up to a beautifully written play.
Hugh Whitemore’s play is beautifully written
Turing’s arrest for gross indecency, his prosecution and punishment run parallel with his life story. His school friend and love of his life Christopher who died young is constantly present in his mind as inspiration and is often on stage in the background. We get a glimpse of Turing’s genius when he talks about science. He explains that even mathematics that most logical of sciences may not always be right or wrong. This parallels with his personal life where he doesn’t see behaviour as right or wrong but a matter of choices based on one’s feelings. He enjoys gay sex. He doesn’t see it as wrong. He is open about it. In many ways, he is a man for today. But his honesty was his downfall in those days.
We are told in some detail about the horror of his treatment, punishment and subsequent suicide. It is as shocking as a punch in the guts and all the more so because in the course of the play we get to know the victim, not only the great scientist but the eccentric, humorous, compassionate human being. He could be describing himself when he says a computer could be ‘kind, resourceful, beautiful, friendly, have a sense of humour, tell right from wrong, make mistakes, fall in love, or enjoy strawberries and cream.’
Turing is on stage the whole time and must have as many lines as Hamlet. So the play stands or falls on the performance of the lead actor.
An enchanting portrayal by Edward Bennett
Edward Bennett is very good. I was enchanted by his portrayal of Alan Turing. If I have a reservation, it’s that he was too nice. After all, this is a person who chained his mug to the radiator pipe to prevent it being stolen or says in another prickly exchange: ‘Am I in for a lesson in morals?’ I would have liked to have seen a bit more of that spikiness in the interpretation.
This Salisbury Playhouse production directed by Christian Durham makes a good stab at telling a story once so revelatory but now so well known. It is presented in the round which give it intimacy. The lack of a set not only means the action can flow quickly and seamlessly between the past, present and memories, but also suggests the anonymity of Turing’s secret work. James Button’s excellent design uses coding sequences on the floor and boards with mathematical equations hanging above.
I particularly liked Louise Calf’s warm portrayal of Turing’s female colleague and friend Pat, and Ian Redford’s police officer Mick Ross, a subtle combination of sympathy and duty.
If you’ve never seen Noises Off, You Really Should
When I saw the first production of Noises Off back in 1982, I laughed so much I was fighting for breath. If I didn’t laugh quite so uncontrollably on this occasion, it’s only because it’s the fifth time I’ve seen Michael Frayn‘s masterpiece, so it no longer has the element of surprise. I still laughed more than at any other play I’ve seen. If you’re lucky enough to watch it for the first time (and if you’ve never seen it, you really should), I’m sure you’ll be as out of control as I was 37 years ago.
Possibly the funniest farce ever written, Noises Off is about a touring theatre company who are performing an old fashioned bedroom farce full of the usual misunderstandings, deception and people ending up in a state of undress. We join the actors at the final rehearsal and find that unlike the one dimensional characters they’re playing, these are well observed rounded human beings with flaws, emotions and rocky relationships all destined to undermine the show.
The farce ends in farce
In act two we join the production on tour but this time we’re backstage. We know what’s happening or supposed to be happening on stage but see the chaos behind the scenes. This is the most hilarious act because the actors have to be quiet so they mime all their anger and bewilderment.
There’s a priceless moment when one actor tries to attack another with an axe and others restrain him but they are still professional enough not to make a sound. In the final act we’re near the end of the tour and watching from the front as the farce falls apart and ends in, well, farce.
Confused and confounded, the actors carry on with heroic if misguided determination as they fall out with each other backstage and try to cope with plates of sardines rarely where they should be, contact lenses popping out, doors sticking and boxes disappearing and reappearing.
If you love theatre, you’ll love seeing it with its trousers down
So if you love theatre, you’ll love seeing it with its trousers down. Like the best comedy, it shows high ambitions brought down by human frailty. As the director of the show within the show says: ‘It’s farce; it’s theatre; it’s life.’
The characters are so well written by Michael Frayn, it’s tempting to think any decent actors could make a success of them. But it takes exceptional actors to make a success of farce. Nothing in theatre is more difficult than the timing and teamwork and sheer physical hard work required by this genre, not to mention truth to character.
In this Lyric Hammersmith production, we are blessed with just such a remarkable company. There is a moment where a bottle of whisky is passed from one to other all around the set with lightning dexterity. They go in and out of doors with exquisite mistiming. Each character is perfectly drawn so their reactions when things go wrong are always just right.
I’m going to credit all the actors. Meera Syal as a veteran actress Dotty, who can’t remember her lines, is wonderfully semidetached from the reality of what’s going on. Daniel Rigby excels as the inarticulate lovestruck Garry, his voice getting more and more strained and his movements more frantic as he tries to cope with the unexpected. Lloyd Owen makes an excellent exasperated sarcastic director.
Lisa McGrillis as an actor more concerned with her nails than her lines is wonderful. So are Sarah Hadland and Richard Henders as the serenely smiling Belinda and the neurotic method actor Frederick. Anjli Mohindra and Adrian Richards as the acting stage management make good innocents unprepared for the brutishness of theatre life. And finally there’s Simon Rouse who doesn’t put a foot wrong as a deaf alcoholic who constantly puts a foot wrong.
Director Jeremy Herrin sets the rollercoaster going and it doesn’t stop until the final curtain.
Noises Off continues its run at The Garrick Theatre until 4 January 2020
Stephen Sondheim’s Assassins is one of his lesser known musicals. Having seen this production of it at The Watermill, I understand why. There’s no story, no engagement with the characters and, like the would be assassins, it’s hit and miss. On the plus side, you do get a fascinating look at men and women who attempted and sometimes succeeded in assassinating American presidents. You are also treated to some great music and amusing lyrics and, in the case of this Watermill production, an entertaining performance that hits the bullseye.
In this fantasy musical with a book by John Weidman, all the would be assassins get together at a funfair where they are given their own special guns and cajoled into going for the big prize if they shoot a president dead. The musical is an exploration of what that prize is. The answer, and this is not a spoiler, is fame.
We learn something about each of these would be assassins, first John Wilkes Booth who killed Abraham Lincoln, finally Lee Harvey Oswald who shot John Kennedy. It’s by no means chronological and the various stories intertwine. We see them as failures, mentally unstable nobodies who have been let down by the American Dream which promises that everyone can succeed.
Although we never sympathise with this unhinged bunch of people, we do hear some great tunes. Peter Dukes as Leon Czolgosz (who killed President McKinley) sings one of the best- The Gun Song which describes the number of hands involved in the manufacturing process. Generally Stephen Sondheim’s score offers pastiches of various forms of traditional and popular American music. It carries us and the assassins along with the joy of America while contrasting with the grubby truth revealed before us and through his lyrics.
Another National Anthem sums it up: ‘There are those who keep forgetting That the country’s built on dreams.’ Or as another song says: ‘Everybody’s got the right to be happy.’
It’s a fast moving, slick production from Bill Buckhurst. The Watermill has a small stage but the 15 strong cast manage to fill and move round it with military precision, choreographed by Georgina Lamb. They also play instruments, so to say they are talented is an understatement.
I don’t like to pick out individual performances from this excellent ensemble, but I’m going to. Eddie Elliott is the delusional but hyper confident Charles Guiteau who expects to become ambassador to France and shoots dead President McKinley. Mr Elliott plays him with great pizzazz, jumping around the stage and shaking hands with the audience and rushing to the scaffold with a joyful gospel I’m Going to The Lordy. Lillie Flynn as the Balladeer, a kind of narrator, has the strong punchy voice of a classic musical singer. Sara Poyzer’s neurotic Sara Jane Moore gets a lot of laughs as her mind and her gun fire in all directions.
Inevitably on a stage as small as The Watermill’s, the set is minimal but Simon Kenny has cleverly created a fun fair feel particularly by showing the presidents’ faces like targets in a shooting gallery.
When it comes to the climax- the assassination of JFK- the back of the set spins round to become the windows of the famous Book Depository. All previous assassins led by Wilkes Booth (a chilling portrayal by Alex Mugnaioni) gather to nudge the suicidal Oswald to pick up the rifle.
The previously black comedy becomes serious and even sentimental which makes the end inconsistent with what leads up to it. Presumably Sondheim and Weidman decided this particular assassination was still too raw in their and our minds. Perhaps, unlike Oswald, they lost their nerve.
Laura Wade’s play is funny, thought-provoking and exhilarating
The Watsons starts as a fairly conventional adaptation of a Jane Austen story taking place on a lovely white set by Ben Stones.
Emma needs a husband and the question is, which of the three contenders will she end up marrying? Will it be for love or money? But this is an unfinished novel so we reach a point where the plot runs out and, suddenly, the author of the play steps in to prevent it going in an unintended direction. Played by Louise Ford, she’s a wonderful combination of determination and exasperation. From here on, it’s mayhem all the way.
At first it’s a conversation between the playwright Laura and the lead character Emma. Grace Moloney makes her totally believable as a typically intelligent witty Jane Austen heroine who takes the opportunity to figuratively (or, come to think of it, literally) rip off her stays.
Soon all the other characters are involved. Laura has a clear idea of how the story should develop but these are not her characters: they’re Jane Austen’s. They have their own ideas and Laura starts to lose the plot.
Thus we enter into an exploration of the creative process and, if that sounds a little dry, let me assure you it’s more like entering a flume ride. Many authors have talked about how characters take on a life of their own and begin to dictate the plot. Here it happens in front of our eyes. And of course the author, even though she’s called Laura, is a character herself created by the actual playwright Laura Wade.
The play becomes mind blowing as Ms Wade digs through the layers of implications and branches out in many directions to explore artistic creation and women’s experience.
She raises questions of free will and predestination. The characters are the creations of a God-like author but we living human beings also ask how much we are in charge of our destinies and how much our character seals our fate.
It’s partly an argument about whether you should conform or be true to yourself but when the characters put taking control to a vote, it also raises a cheeky referendum-related question of whether people should have a say if they don’t have all the information.
When the characters take charge, anarchy reigns. People behave out-of-character or perhaps as they would without the restraints of society’s rules, in this case a society created by the author. You see what I mean when I say this work is vertiginous.
A head-spinning triumph for Laura Wade
The Watsons is a head-spinning triumph for Laura Wade whose reputation is already high after her brilliant Home, I’m Darling. Directed by her husband Samuel West with a lightness of touch, the production makes the most of every opportunity for humour. There is a wonderful moment just after the characters have just discovered that they are in a play. When Laura steps through the fourth wall, as one they gasp and sway backwards.
You also realise that the significance of the white set is probably that the author hasn’t filled in the details.
There is the odd moment when the examination of the author’s own situation feels a little indulgent but The Watsons delivers a funny, thought-provoking, exhilarating evening.