Tweetingit: 3* Two generations collide and ultimately bond through a shared love of football. A neat two hander draws out a moving story of the beautiful game and its effect on our lives.
Two people on opposite sides of life can learn much from each other if they only take the time to listen. Billy the Kid is a neatly executed two-hander that shows how football can sustain people through the highs and lows of life. Billy (Dudley Dutton) is an 80 year old with attitude and a fund of stories to tell. Sam (Sam Donovan) is a bright young thing about to join the Chelsea Football Academy. He confidently looks forward to cash on the hip, flash cars and WAG girlfriends.
Meanwhile, Sam discovers that Billy has done it for real. He played for Chelsea before the war and quickly became a darling of the Shed. But then the Second World War broke out. His brother Joe happily enlists but Billy is not so sure. Their father fought in the Great War, and he endured a premature and painful death; it turned Billy into a pacifist. Nevertheless he joins the army as an ambulance driver to care for the wounded. But what happened to Joe; did Billy resume his playing career and did Sam make it into the Chelsea Academy?
Tweetingit: 4* Classic comedy given fresh impetus with two brilliant actors voicing an entire cast of characters. A real treat!
Shadowed by the gothic splendour of St. Pancras station sits the British Library. And buried deep inside its Knowledge Centre is a well-appointed theatre which played host to a wonderful production of the Dad’s Army Radio Show. Performed by David Benson and Jack Lane, the show initially aired at the Edinburgh Fringe in 2017.
The idea is simple: to adapt episodes of Dad’s Army via a radio programme on stage. The show takes its inspiration from corresponding radio episodes made after the TV versions were shot. The result is a glorious recreation of the sitcom’s finest moments.
Stage props were restricted to a radio and two microphones; the lights dimmed as the former crackled into life. Haunting speeches by Churchill and Chamberlain quickly put the show into context. Clad in standard issue uniform, they took the stage and launched into an episode entitled When you’ve got to go; Frank Pike has received his call-up papers much to his mother’s distress.
Tweetingit: 3* Two girls play schoolboys with a different perception of what it’s like to feel different. An intelligent, well observed play raised by some outstanding acting.
In a world where sexual identity is nothing more than a routine conversation piece, Lipstick is hardly breaking new territory. It does however provide a showcase for two outstanding young actors in April Hughes and Helen Aluko. They give substance to a feather light plot and routine script that would have been much poorer without their respective performances.
Tommy (April Hughes) is a boy that likes to wear lipstick, foundation and eye shadow if he can get hold of them. Next door neighbour and class mate Jordan (Helen Aluko) lives with warring parents on the verge of separation. Jordan is a boy’s boy, he plays football and all the girls fancy him (or so he thinks). Yet he is gradually drawn to the sickly and vulnerable Tommy; they momentarily cut loose at a nightclub as they sing I wanna dance with somebody. But what does this mean to them personally. Are they just experimenting or truly finding themselves. How do they feel about each other; is this a friendship, bromance or something much deeper and passionate? There is a curious juxtaposition between what they want and what they need from each other; a geography field trip to Cornwall may well provide the answer.
Tweetingit: 3* An enjoyable if lightweight tale of the King of England and Queen of Hollywood. Some things never change!
With exquisite timing the premiere of Falling in Love Again lands at the King’s Head Theatre. Slap bang in the middle of this week’s crisis in the Royal Family one wonders if mystical powers are at play. It tells the story of a meeting between two 20th Century icons; the ill-fated King Edward VIII and movie siren Marlene Dietrich.
A brilliant premise for a play and based on true events. Dietrich visited Fort Belvedere on the eve of King Eddie’s abdication; and this is Ron Elisha’s take on what might have happened that night.
It’s December 1936 and the House of Windsor is about to rock with the King (Ashton Spear) preparing for abdication. But wouldn’t you know it Marlene Dietrich (Ramona von Pusch) pops in for a cup of tea. Preparing to forsake his country for the woman he loves; and then confronted by one of Hollywood’s sexiest women; what is a King to do? The pair spend the evening verbally jousting with Dietrich at her seductive best. But will Edward fall for her fatal charm and slip off the wagon one last time?
A gritty northern drama from the very top draw. A taste of honey just got that much sweeter.
Once upon a time, theatre director Joan Littlewood took a pinch of inspiration and mixed it with a cupful of talent to create the Theatre Workshop. Based at Theatre Royal Stratford East the workshop gave many young artists their first break. Lionel Bart’s breakthrough musical Fings Ain’t Wot They Used T’be was directed by Joan Littlewood.
However, her other great discovery was Shelagh Delaney; a precious nineteen year old playwright who presented her with a terrifyingly good play called A taste of honey. It premiered in May 1958 and later transferred to the West End and Broadway receiving critical and popular acclaim.
Witty, winsome and whimsical. Amélie The Musical is based on the 2001 film, where one little girl with a big imagination carries out remarkable acts of kindness to bring happiness to those around her. Until one day, Amélie meets arty Nino, her heart begins to pound and everything changes…
Audrey Brisson is phenomenal as quirky Amélie, her playful personality and sprinkles of mischievous magic brighten a world where everything and everyone goes around and around and around over and over again and again…Amélie slices through the monotony with delightful charm, although Brisson always cuts in with a hilariously blunt quip just in time to avoid over sweetening the performance.
I have a number of traditions at Christmas which make the season special. These include putting a green man bought at Canterbury Cathedral on the top of the Christmas tree while listening to Michael Buble, watching Muppet Christmas Carol, and cooking enough red onion chutney to feed an army.
Another essential is pantomime, but not just any old pantomime. Canterbury Marlowe’s panto is, for me, one of the great joys of the Christmas season and despite moving away from the city, there was no way I was going to miss it. I can categorically say that I was right to make the trip as it, once again, was absolutely brilliant.
Tweetingit: 3* Think the Ten Commandments could use a re-boot? Comedian Zoe Lyons imagines God in stand-up mode; predictable but occasionally very funny.
An Act of God presents something of a moral conundrum, re-treading themes that have kept satirists busy for generations. It belongs to the same family of writing that produced the Life of Brian and Book of Mormon. However, where Brian and Mormon concentrate broadly on the concept of faith; this play goes back one stage further; what if God popped down and re-drafted the Ten Commandments for 21st Century consumption. In fact, what if God was a lesbian comedian in silk pyjamas; or in Zoe Lyons’ words ‘Sharon Osbourne’s dykey niece?’. An interesting concept without doubt; more importantly how would God judge the human race and its achievements? With the assistance of Archangels Michael (Matt Tedford) and Gabriel (Tom Bowen); Zoe re-writes the Ten Commandments with a critical assessment of life’s biggest questions.
Essentially, we see God in stand-up mode with a source of material that most comedians could only dream about. Zoe methodically ticks off each commandment offering a detailed progress report. Think of God as Head Teacher delivering a pupil assessment. Archangel Gabriel holds an I-Pad tablet (geddit?!) and scribbles notes on the wall; meanwhile Archangel Michael mingles with the audience seeking questions they’ve always wanted to ask God. It’s a reasonably coherent piece that holds together with some genuinely funny throwaway lines. The play has already been a hit on Broadway, and writer David Javerbaum has written bespoke material for a British audience. So I was baffled by the inclusion of some poorly judged gags. A line about the holocaust was a huge blunder; there is potential for a reactive piece drawing on current events but opting for the jugular is not a good look.
A fresh out of the box musical drawing inspiration from the golden age of Hollywood. Pleasant songs compensate for a lightweight script.
The cosy studio of the Other Palace is now home to the newest
off West End musical. Reputation
throws the audience back to 1935 with the Hollywood studio system in full
effect. Our story begins when an advert appears in Variety magazine asking for
original film scripts. Michelle Grant (Maddy Banks) is an aspiring young writer
attending language and deportment college in Paris; a finishing school that
teaches everything but how to further her ambitions.
Michelle is persuaded by friends to submit her film script. However, Michelle is duped by small time crook Freddy Larceny (Jeremy Secomb), who has cultivated a reputation in Hollywood passing off other people’s work as his own. Back in Paris the penny drops and Michelle hires lawyer Archie Bright (Ed Wade) to reclaim her script. Both sides go court where Judge Stevens (Corey Peterson) now has to rule on the script’s origin. Can Michelle prove her case or will Freddy outgun her with his own hotshot lawyer?
A heavyweight cast join forces with a heavyweight writer to create a tour de force in theatre; an intoxicating mix of style and attitude. Not to be missed.
The cult of celebrity does sometimes work in mysterious ways; my earliest recollection of Arthur Miller was not as a great 20th Century playwright. But more as the third husband of Marilyn Monroe; a nerdy, bespectacled egghead in the wrong relationship.
It looked a monumental mismatch of two very different legends. I’ve happily learnt otherwise down the years. And now this stunning Young Vic production has transferred to the West End, Miller’s work can be savoured by a much wider audience. Death of a Salesman premiered on Broadway in February 1949, and subsequently won the Pulitzer Prize for Drama and Tony award for Best Play. For a story that’s now 70 years old it still feels remarkably fresh; universal themes are explored in a riveting study of family life that will strike a chord with everyone.