Category: Theatre Reviews

In A Playlist for the Revolution, the two leads showcase another example of opposites attracting (and could well be living on two different planets) when we first meet them: Jonathan (played by Liam Lau-Fernandez) is a native to the Special Autonomous Region (SAR) of Hong Kong, and has a penchant for classical music; on the other hand, we’ve got Chloe (Mei Mei Macleod) who sure is as British as they come (and who very much stans Queen B), albeit with her own motherland miles away on the Asian continent.

The play’s writer AJ Yi seeks to understand a connection made one fortuitous evening at a wedding prior to Chloe’s flight back home (which she inevitably misses as a result of sleeping over at Jonathan’s place). Eventually, Chloe’s return to university up north in Durham (a place renowned for chips and gravy, which could well have been any part of the north of England to be quite honest) , and an unfurling of their story develops as the Umbrella protest movement gains momentum.

They remain in contact, sharing songs on a shared Spotify playlist, which eventually provide some comfort to a new-found “patriot” Jonathan whose love of wanting to be invested in political affairs stem from a chance encounter with a janitor (Mr Chu, played quite angrily by Zak Shukor) of the university room. Chloe’s recommendations include ‘Umbrella‘ by Rihanna an shares some  classical music and Cantonese pop

Instantly upon arrival, the set looked to be a promising choice with its square stage and blocks mimicking the sky scrapers of the city. However, it merely boxea that open to show local snacks received in a food parcel and slightly underwhelming. Hong Kong seems nothing more than skyscarpers-ville and therefore it’s hard to believe the setting at times.

As someone who has in fact visited Hong Kong numerous times, the uninspired set didn’t bring as much delight as the characters did in bringing their spark and comedic wit. It felt somewhat rushed in the design element, with lazy stereotypes of boy-meets-girl and overreliance on the skyscrapers. Furthermore, the direction was jarring  – with the actors meandering around the stage and then entering through what seemed as the only entrance – leaving me underwhelmed at the lack of creativity that the piece could have afforded.

There is a fair amount of ripe material here that simply doesn’t mesh together in a coherent or seamless manner, but does garner laughs from the audience for whom it is so vital to have representations of Hong Kong culture on the stage. AJ Yi’s writing isn’t quite the strong point as it wanes at times, but some jokes do land with ease when they don’t portray a stock characters/tropes (such as Mr Chu). In particular, when there’s a fuss to pay over the bill (something noted between masculine presenting people in certain cultures) or the “goofiness” in Jason’s inability at the start of the play to strike conversation. This could also be portrayed as a de-sexualisation of a man, who is somewhat nerdy (we totally haven’t seen that trope, have we? ) was certainly a bold and regressive choice; given this, the actors were profoundly moving in the scenes where the emotions were heightened. The emotion didn’t quite land in the final scene, either.

Where this really soared was in the first half, as the energy of Chloe and Jonathan in the dancing scenes was portrayed seamlessly and was quite optimistic. If only the remainder of the piece was focussed on the couple, instead of the Mr Chu/Jonathan plot line which I felt was skindeep.

There are moments of delights, highs, laughs, and genuine heartfelt emotion. What this lacked, for me, was the nuance in all the characters. Further, a plot twist featuring Mr Chu’s son felt contrived (as did the shoehorning of him as a working-class character whose appearance, disappearance and interaction with Jonathan seemed at times unrealistic).

All in all, this is an at-timea affecting piece of theatre, but the effective utilisation of the bodies in the space was sorely mising; hoping for more insight into Mr Chu, but his character felt written too flatly to provoke any real feelings or use.

My final thoughts are that the depiction of a  woman from the diaspora, and a working-class activist were missed off to spend more time with the fact we have to centre the focus on the cis-straight middle class Jonathan (whose writing of a fully rounded character was lacking) also didn’t sit too well with me, and I felt that this was somewhat of a downfall in the over-arching project that had real potential.

If it had been given more time to focus, the play could have set off fireworks over the city; however, this didn’t quite achieve that not want me rushing to pick up a Bola bao either.

** Note: this was a review written in exchange for a complimentary ticket #ad #prinvite, and the opinions in this blog post are only reflective of the reviewer **

This performance of Re-Member Me, for someone who’s never seen or read Hamlet, was quite the steep learning curve. There’s a brilliant insight into not only the text itself but the cultural juggernaut it has become in terms of what makes it so iconic for actor types. In this tight and slick one-act production, complete with muscled mannequins, disco lights and a glitterball – it feels like an entirely fresh concept.

Dickie Beau’s energy reverberates around the theatre – for he single-handedly holds this show together for an impressive eighty minutes bringing an infectious spark. In this part documentary, part seance, we’re introduced to audio snippets from iconic actors who’ve played the titular characte,  be thatRichard Eyre, or Ian McKellen and even the late Ian Charleson. Excellently coordinated by Dickie’s impressive facial expressions (these are worth the ticket price alone). The real honing in of Dickie’s talent is evident and I was in awe of the physical theatre on dislay.

One particular moment that sticks in my mind, and that is when he depicts the assume position at the beginning of a racing start position; Beau’s upper strength and ability to play still convincingly was a marvel to watch.

Overall, the piece journeys into unchartered territories with its jovial beginning (think The Village People and lipsycing to perfect campness) and that sets us up for an  archiving of queer history. The fact Re-Member Me is performed on the main stage in Hampstead – known for its cruising by a certain famous pop star – is a testament to the theatre’s commitment to never shying away from showcasing remarkable queer works. A necessary watch, it also remember the late actor Ian Charleston – and brings us face-to-face with the harsh realities of performers who we lost during the HIV/AIDs crisis. We will remember those that have passed, and Dickie Beau’s creation is a masterful take on the innovation that a performance can bring; ultimately, it does indeed enmesh the modern with the ghosts of the past. The set design is simple, with a white sheet acting as a curtain for shadows to be cast onto; facial expressions are perfectly visible – and at times captivates the audience. However, the usage of projecyed video screens did feel like too much was happening all at once.

However, the overall charm does not detract too much from a unique piece of theatre. It was initially planned to be screened in Hong Kong, but COVID-19 prevented that; there’s a universality of its appeal and the storyteller deserves all his flowers in crafting a show that is visualised with flair.

Do not miss this if you get to see it, for you will leave the auditorium with a better knowledge of a part in history that is too often overlooked.

Playing at the Hampstead Theatre (nearest tube: Swiss Cottage) until June 17. Tickets via: hampsteadtheatre.com

Biscuits for Breakfast by Gareth Farr is a moving piece that tackles childhood memories, loss, and the hunger (no pun intended) for an aspirational future in a cost-of-living crisis.

Joanne and Paul aren’t an obvious match – she is spiky, defensive and a survivor; whereas he is quiet, considered and hiding profound grief for his father. The pleasure Paul takes in cooking dishes – and the astonishing food he prepares perfectly crafted by his physical theatre methods – creates an electric bond between them. When the hotel where Joanne closes, she moved to a garlic bread factory (I half expected an homage to Peter Kay’s skit) and they eventually start to spiral into poverty when a surprise appears. From the  dreams of having a cookbook, to a dream of surviving, the drama proves to be a thrilling watch.

In the intense two-hander play lasting over an hour and a half (with no interval), we meet two young people: Joanne and Paul. Both are relatively young and meet in club when Paul asks to buy her a drink  to which she – a fiesty woman with care home experience  – is clearly aware of she is not in need of one. Boadicea Ricketts’ Joanne is believable whereas Ben Castle-Gibb’s Paul expresses grief in such touching ways. Both give a stellar performance given some flawed writing, and command the entirety of the stage with energy and verve.

Hampstead Theatre is one of my favourite producing houses, and this is an exemplary piece that echoes the sentiment of real-live stories drawn with sensitivity and flair. The downstairs space is totally transformed into a runway with audiences seated on two rows at each side.  The clever set (created by Cecilia Carey) is what captured my attention and kept me gripped throughout; bare except for a table and two chairs as well as mounds of sand at each side. The movement direction is really effective in conveying the emotion in this piece. Further, the scene changes –  such as when we enter Paul’s boat and the intricate details of the set is laid bare – are executed with confidence. A beautiful mosaic floor design to showcase changes in setting, with lights that interchange between gold and blue-y greens, assist the storytelling of the main protagonists.

Where it fell short for me was the repetitive nature of lines and phrases (for example, ‘Posh!’ was a favourite of Joanne’s) as well as the length being a little bit too long-winded in parts and it could have been rather succinct in its deployment.

Overall, the performances given by the two leads were really powerful – especially the ending which really caught me off guard – and I mostly enjoyed this production for its interrogation of government failure and its impacts on real-life people.

LISTINGS

Hampstead Downstairs / Celia Atkin present

WORLD PREMIERE  

Hampstead Downstairs / Celia Atkin present
Biscuits for Breakfast
By Gareth Farr
Directed by Tessa Walker
Designer Cecilia Carey
Lighting Matt Haskins
Sound Holly Khan
Cast Boadicea Ricketts (Joanne) and Ben Castle-Gibb (Paul)

Hampstead Theatre, Eton Avenue, London NW3 3EU
Box Office: 020 7722 9301 (Mon – Sat 10.30am – 7pm) | hampsteadtheatre.com

Dates: Friday 5 May – Saturday 10 June 2023 

Captioned Performances: Wednesday 31 May at 7.45pm and Thursday 1 June at 2.45pm

TICKETS 

First five previews: All tickets £5

Remaining performances: £20

U30/students: £10

Seniors (matinees only): £12

Access: £10

** Note: the ticket provided for this performance was a complimentary one, in the exchange for an honest review and all opinions are my own **

Presented as a page-to-stage adaptation of Manjeet Mann’s award-winning book, Run, Rebel follows our teenage protagonist Amber who feels  trapped by the patriarchal culture that bubbles beneath her domestic life as she progresses in her school life (in particular, her love of running).

Will she rebel, like the people she’s exposed to by her love of reading? Will History repeat itself? Will she set her (and relatives) free?

It’s an expansive story – set in the oft-forgotten Midlands – that really feels fresh from the very start. I was really impressed with the all-star cast (and ensemble), for their ability to convey the physical theatre of the piece. The movement in particular, with direction by Tessa Walker, is to be commended for its engaging factor. I was able to resonate with the character, their struggle to comprehend two very differing cultures and being caught in the cross-fire of the pressures that come with being a dual-heritage teenager in the UK.

We’re introduced to the family: an abused mother, as well as an alcoholic father (played very convincingly by Pushpinder Chant). What really impressed me in this was the way in which the ensemble cast played a variety of roles, and the sheer conviction with this (be it facial expressions, as well as physical changes to denote this) were really well executed.

I went  along to see this co-production – at its very first UK 2023 tour venue – to be completely blown away by the intimacy of the piece. It is a stunning collaboration between four theatres: Mercury Theatre, Belgrade Theatre Coventry, Derby Theatre and York Theatre Royal. My only barb with this was the stereotypical trope of the father-figure being one-dimensional, and I appreciate that this being a piece aimed at 11+ and with its source material that those conversations would not have been interrogated. Alas, the entire production was one that stuck in my mind due to its compelling videos as well as the innovative set consisting of the ramps on which the notion of running was depicted rather effectively.

My advice would be: Don’t walk, Run (!) towards this piece of theatre with the teenager in your life: more information of the entire tour can be found here.

LISTING INFORMATION:
Pilot Theatre in Run, Rebel at York Theatre Royal, March 7 to 11, 7pm, Tuesday, Wednesday and Friday; 1pm, Wednesday to Friday matinees; 2pm, Saturday matinee. Box office: 01904 623568 or yorktheatreroyal.co.uk.

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Oli Higginson (John), Meaghan Martin (Julie) in Smoke at the Southwark Playhouse
Photo Credit: Lucy Hayes

SMOKE is a play by Kim Davies adapted from August Strindberg’s ground-breaking play, Miss Julie. It concerns the two individuals at a BDSM party in New York City with Julie (Meaghan Martin) and John (Oli Higginson) central to the plot and the only characters. Julie’s life of privilege (her father employs John) and age gap really shows her immaturity on her viewing of all things in her life. On the other hand. John’s played with conviction as a loser who is financially struggling to make ends meet as an artist. Despite their ten year age gap, the two hit it off immediately and we’re all suddenly partaking in their cat and mouse game. Before you know it, there’s issues pertaining to consent and the way a game can be pushed as far within the confines of the suffocative environment.

The set takes place the round within in the restrictive confines of what appears to be an adult sand pit, with black charcoal like substance that John takes pleasure in crushing over his new lover. She is shown to be sharing cigarettes with her new-lover, and the passing of sand through their hands was the best part in this piece. I really felt it was a unique way to portray the sharing of  the titular nouns: smoke.

Overall, SMOKE is an interesting look at how we perceive sexuality and gendered norms in a cis-hetero-patriarchal environments. In its original iteration from 2014, I imagine it would have been revolutionising as a piece. Though I do think the post-show feeling for me didn’t take me to the elevated space of contemplative nature that I expected. I just felt that it did what it was claiming to do so. I didn’t leave feeling like I’d learnt what I didn’t already know, hence my main issue with the portrayal. One thing I’ve to commend the team is their inclusion of an intimacy director, despite the two actors being a real-life couple.

Oli Higginson (John), Meaghan Martin (Julie) in Smoke at the Southwark Playhouse
Photo Credit: Lucy Hayes

To conclude, if you find happen to find yourself at a loose end in London this February, these are two performances that I’d say are worthy of a watch simply for the witty writing, as well as the physical theatre on display from the two actors who give convincing portrayals.

Listing information: SMOKE by Kim Davies

?Southwark Playhouse : 77-85 Newington Causeway, London SE1 6BD

Box Office: 020 7407 0234 (Mon-Sat, 10am-9pm)

www.southwarkplayhouse.co.uk/the-little/smoke

Twitter, Instagram, TikTok: @swkplay

Facebook: @SouthwarkPlayhouse

Tickets: £16 Previews / £22 standard / £17.50 concessions

** 1 February 2023 – 25 February 2023 **

Co-Directors: Júlia Levai and Polina Kalinina; Production Design: Sami Fendall;Sound Design: Jamie Lu; Lighting Designer: Rajiv Pattani; Graphic Designer: Justin Williams; Intimacy Director: Asha Jennings-Grant