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REVIEW: ⭐️⭐️⭐️ Why Am I So Single?📍Garrick Theatre

A loving ode to musical theatre, the perils of modern dating and embracing queerness is what centres WHY AM I SO SINGLE?

By Hamza Jahanzeb 13.09.24
Photo credit: Danny Kaan

A show about platonic relationships is original for it’s not often we get them on our stage; I’m sure we all recall a best friend with whom any discussion relating to relationships is dissected in the domestic setting of a home. In this new musical – titled WHY AM I SO SINGLE? – from the creators who brought us SIX (Toby Marlow & Lucy Moss, as well as co-direction and choreography by Ellen Kane), prepare to be ready to SWIPE LEFT on the heteronormativity so routinely portrayed on stage. A refreshing look at this element is what makes it a unique Queer-tastic celebration of non-binary finery, and being out, proud and Queer unashamedly. It’s a triumph when it comes to representation (we have a northern accented lead, body positivity on stage in ensemble members and shades of races that makes it feel so wholly and inclusive) but this production is ultimately a half-baked show that’s plagued by flaws namely a lengthy run-time, wafer-thin plot and filler-heavy songs.

Beginning a show with a Greek prologue is a good way to rope in wider mass appeal as opposed to punters who are Six fans, complete with masks and cardboard cut-outs. It brings a centuries-old tradition to the modern day which is quite a nice touch to welcome the audience to their new venture. For a moment, it did also remind me of The Witches (2023) from the National Theatre last year. Meet Oliver and Nancy (no- you’d do anything to definitely re-read that and heap on the fact the unnamed protagonists take on familiar names which seasoned musical). The Wicked reference, which seems shoved in for the sake of ticking off the musicals, was short-lived. Mamma Mia is laughed at, and categorised as a non-musical. Weird to single out that show when there could have been other shows to aim fire at (!). The comedy didn’t land for me at times, but was at its best when Jo Foster was on stage – they play a very funny character, and can do comedy well and impressively. An endearing quality exuded from their characterisation of Oliver.

I’d go as far as saying that this is Marlow and Moss’ ARTPOP moment (for the non-queer or pop-culture aficionados, it’s the half-baked follow-up to Lady Gaga’s Sophomore album
Born This Way) for it has a couple of hits but there’s something not there. It’s a satisfactory (for fans especially) attempt at showcasing diversity on stage and showing their flair for writing good songs (very few are memorable, and especially ‘Just In Case’ could have been shortened), it felt too familiarly contrived. I loved that there are frank discussions of  of trans-misogny, as well as the issue gay shame being interrogated “Disco Ball” (which I’m pleased has a neat tie-up at the end).

There’s going to be plenty here for Six fans who will flock and go to see this in their droves, but outside of that the appeal is
wafer-thin like the plot this piece is based on. Kane’s choreography is interesting as times – I appreciated what was happening during ‘Eight dates’ in particular, but the overall direction was taking place on a sofa (domestic setting making it all too relatable), and in a cafe Olive A Twist, nice paying homage. The agent is called ‘Faye Gin,’ so again, the references to musicals just becomes a relentless task to endure.

A special mention for two stand-out performances for me in this piece: Jo Foster (they/them) and Noah Thomas – an underused performer who played the titular role in Jamie. There’s a tap dance number – hats off to the choreographer – where Noah shines as their bi-sexual character. Again, I wish that this point was explored more and not merely a plot device to shovel in some more diversity.

Where this show truly fails to light up the room is the overly long run-time. I guess sticking to what you know best ought to have been what worked for Marlow-Moss duo. They are just so supremely talented in writing songs, but a full book? Less so, I’m afraid. There’s also some bizarre and groan-worthy rhymes at times (a prime example is rhyming ‘eggs’ with ‘ex’), and the stronger (and wittier) moments of writing are in songs such as ‘Eight Dates’. Catchy hooks, and lyrics is what the duo are renowned for for but it sometimes becomes overkill in this show.

Why Am I So Single? does have its moments of creativity (I admired the references to  British Hun culture such as the ‘Live Laugh Sob’ on a light up fridge as props are represented by humans as well as some of the choreography). There are some great dance moments, and the sequinned and detail in the costumes is to be marvelled at. Also, I do take my hat off to the lighting team (Jai Morajia) as the show did feel West End-ready in most departments, but not quite in the most central and formative department: lacking a sharp book to give it the foundation to stand on.

Overall, WAISS? left me hungry for trying other dating apps, and for the writing team to go beyond the surface-level nature of the palapa of online dating (such as Tinder, Bumble or Grindr – give me Recon you cowards!).

There was a missed opportunity but that’s not to say it isn’t a fun night out at the theatre. It will please fans of the writers, but will leave a lot to desire from stalwarts of a captivating libretto. I do wish it well, and that the team can allow an organic creation, and one that has a wider appeal that this as they found with Six in any future pieces that didn’t feel like a simple cash-grab riding the wave of a previous success.

If you’re looking for an ultimately silly, fun, camp and show with pockets of charm? Then this is it. Singletons will view their life reflected on stage via the perils of dating online, but for some people who come to the theatre to ‘escape’, this may find be an exhausting and weary watch. Do go if you’ve got the stomach for lots of endless meandering of the same laboured point on why dating can be the (cess) pits. The target audience will be skewed to a younger audience, and whilst I wish it the best, I much preferred Marlow and Moss’ tight-controlled no-interval first offspring.

** N.B. This is an honest review, in exchange for a gifted / complimentary ticket. The reviewer has written this with their own editorial control, with no external influence on how to frame or write about any aspect of this show. #AdvertisementFeature #PRInvite #Gifted #ad **

Booking until 13 February 2025: https://whyamisosingle.com/

Access Information

For Accessibility information please contact Nimax Theatres directly: 0330 333 4815 or access@nimaxtheatres.com

Access Performances

Audio Described – Saturday 21st September 2024 7:30pm

British Sign Language – Friday 18th October 2024 7:30pm

Captioned – Saturday 25th January 2025 2:30pm

Address
📍Garrick Theatre
(Nearest tube: Leicester Square/Charing Cross)
2 Charing Cross Rd, Charing Cross, London WC2H 0HH

 

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Theatre Reviews

REVIEW: Passing ⭐️⭐️ 📍Park Theatre, Park90

Photo Credit: Matt Martin

As the Park Theatre enters its second decade (it opened in 2013), I was quite intrigued by the concept of the play Passing written by Dan Sareen and which is also directed by Imy Wyatt Comer. The poster depicts Amy-Leigh Hickman (whose performance in the recent revival of East Is East at the National Theatre was exceptional), who plays Rachel Singh and is adorned in a strikingly beautiful sari on the artwork for this production. Initially, when I told friends of the name of this piece, they immediately thought of the Nella Larsen book. Though it does touch on themes of cultural assimilation and seemingly seeing yourself as ‘passing’ as the default race. Admittedly, I was not familiar with either of the creative team’s work, though the casting choice, coupled with new writing is what piqued my interest to return to the Park90 studio space.

The story is one of a nuclear family which consists of Yash (Bhaskar Patel) and Ruth Singh (Catherine Cusack) and their two children Rachel (Amy-Leigh Hickman) and David (Kishore Walker). There’s also Rachel’s boyfriend who is simply referred to, as Matt (Jack Flamminger). We hear about a grandad, but never actually meet him so it’s unbelievably agonising to wait to see how the play takes off. His arrival is where this long slog of a play ends.

Photo credit: Matt Martin

The play’s beginning is inspiring, with Rachel (Amy-Leigh Hickman) who is caught between two cultures. However, it’s soon gradually apparent that this is a seemingly unrefined piece of work.  The introductions of the characters seems abrupt, and there’s a lot of misdirection. Rachel’s character feels somewhat compelled to connect with the Indian side of her Anglo-Indian identity and hence decorates the home with lights and is learning how to wrap herself in a sari. The first fifteen minutes began with lots of interruptions which showcased the clear lack of rehearsal time for this piece. The lack of robust direction meant that some of the actors spoke with their faces turned away from the audience, therefore resulting in some dialogue being lost at times. It was also quite hard to hear when two different conversations were being had simultaneously, as was the case on at least two occasions.

Further, the material was lacking some oomph, despite the clearly talented actors giving it their all to convey the writer’s words which I believe was the root of what made this an endearing-yet-flawed piece. Having said that, highlights the performances come from Amy-Leigh Hickman, Kishore Walker whose sibling relationship felt realistic. Their comedic timing was fantastic and provided light relief.  The parental dynamic was odd, somewhat jarred and sadly let down two impressive actors in Bhaskar Patel and Catherine Cusack. The 2-D nature of the character of Ruth Singh, sadly, felt like it was not fully realised and I felt needed more work despite the actress’ ability to convey an earnest mother-like figure.

The first act ended quite abruptly after a board game went wrong (it seemed quite random a place to stop the action for an audience break, and wasn’t the best place to leave audiences wanting more). I saw a fellow audience member leave, and I was hoping that this piece would find its feet in the second act. Sadly, it did not with very basic arguments around racism in the school (which felt repetitive), and the constant bickering made this at times, a grating watch.

Photo credit: Matt Martin

It was a shame that the material let this down, the production was not something that was polished (there were several mishaps on stage, which admittedly were covered up well in character). Given the play’s lengthy run time it simply didn’t engage me and seemed rushed.  Its intentions were not as clarified like the ghee used to fry the on-stage samosas (which did, as a matter of fact, smell delicious).

Until 25 Nov: https://parktheatre.co.uk/whats-on/passing

N.b. Advertisement feature - Ad - This review is the sole thoughts of the reviewer, and was a gifted (PR) experience in exchange for an honest review of the material showcased on stage. If you want to support my independent theatre, please consider subscribing to my Ko-fi:
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Theatre Reviews

REVIEW: No I.D. ⭐️⭐️⭐️⭐️⭐️📍Royal Court Theatre (Upstairs)

NO I.D. is a play that has transferred to the Royal Court from a short run at VAULT Festival 2023, having also previously played at Theatre Peckham.

In it, Tatenda Shamiso tells the story of his experience as a Black transgender immigrant in the UK. Using the songs he wrote throughout his first year on testosterone alongside letters, signatures and a whole lot of paperwork, he guides us through what it takes to validate Black and queer identities in the eyes of the law. What really drew me to this piece was the sheer honesty with which the viewer is given access to Tatenda’s world. That begins with a clip of him before his transition, and the audience are taken on a journey to meet their authentic self as the piece progresses.

It is so incredibly touching,  funny and offers some really thought-provoking dialogue. As as for Claudia Casino’s set – a simple sofa with a lamp, with card box boxes dotted around – also brings forth the audience well into the action. The space is utilised in a great way, as we begin with Tatenda giving the audience a direct address as he moves from the sofa (changing into clothing the binary standards of society subjects us to), to then approaching the the stacked cardboard boxes which again reveal a further boxing from wider mainstream society. It got me thinking, and allowed me to be taken on my own journey throughout. Further, there is an element of realism which comes by the introduction of the real life videos of Tatenda pre-transition, where the person in front of the audience is quite literally shedding the loss of another identity: ultimately though, one that helped the protagonist to reach their authentic self. One side point, and something of note is the introduction of a (what we presume is an NHS gender helpline) phone that rings, which the audience are given an intense insight to be privy to a call.  The way Tatenda dances to the beeping waiting tone was just sheer genius and added a really hilarious touch to a piece that is often quite serious in tone. The comedic timing, topped with the Tatenda’s facial expressions were really inspiring in order to bring comedy in order to point out the ridiculous nature of how vehemently inept the system is for those who are wanting to transition to the gender of their own choice.

It is, overall, a rather eye-opening and a clever portrayal of the unnecessarily cruel bureaucracy involved with having to register one’s own new gender identity. There is not one moment when I was bored, or feeling like the overarching themes was going into overkill; ultimately, it made me want to further highlight the plight trans people face, as the current system is rather chilling to the bone.

The tight 60-minute piece, performed at the Upstairs space at the Royal Court Theatre, also incorporates music; this is inclusive of a childhood tap routine which pays homage to a Anything Goes (I adored the iteration at the Barbican Centre last year with Sutton Foster) that is recreated, as well as the the overlay of his voice now to music from recordings. That in itself was really powerful, and made me well up as it demonstrated the point of visible (and audible) change so seamlessly authentic.

All in all, No I.D.  is a superb piece of theatre that celebrates marginalised voices; it’s a beaming call to the lay person so offer compassion to those who undergo  gender transitions (or as Munroe Bergdorf states in her book Transitional ‘In One Way or Another, We All Transition’), which is told with a searing honesty, warmth and an energy that will compel you to want to be Tatenda’s best friend.

Listing information:

NO I.D. by Tatenda Shamiso

Writer: Tatenda Shamiso
Director: Sean Ting-Hsuan Wang
Designer: Claudia Casino
Producer: Dylan Verley
Stage Manager: Ting (Yi-Ting) Huang

Cast: Tatenda Shamiso

Tuesday 18 April 2023 –Saturday 6 May 2023

📍Royal Court Jerwood Theatre Upstairs

🎟️: https://royalcourttheatre.com/whats-on/no-i-d/

All photos credit: Marc Brenner

All images feature Tatenda Shamiso

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Theatre Reviews

REVIEW: Linck & Mülhahn ⭐️⭐️⭐️📍Hampstead Theatre

Linck & Mulhahn by Ruby Thomas ; Production ; Cast: Maggie Bain,  Helena Wilson, Lucy Black, Daniel Abbott, David Carr, Marty Cruikshank, Kammy Darweish, Qasim Mahmood, Leigh Quinn and Timothy Speyer ; Directed by Owen Horsley ; Set Design by Simon Wells ; Lighting Design by Matt Daw ; Sound Design and composition by Max Pappenheim ; Movement by Natasha Harrison ; Flight and intimacy co-ordinator: Rachel Brown-Williams and Ruth Cooper Brown of RC ANNIE LTD ; Casting by Helena Palmer CDG ; Assistant Director: Dewi Johnson ; Hampstead Theatre ; London, UK ; 28th January 2023 ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

A play based on the real-life tale of a gender-queer couple in 18th-century Prussia can be described as a hilarity-inducing, moving, and at times jarring.

Linck & Mulhahn by Ruby Thomas ; Cast: Maggie Bain, Helena Wilson, Lucy Black, Daniel Abbott, David Carr, Marty Cruikshank, Kammy Darweish, Qasim Mahmood, Leigh Quinn and Timothy Speyer ; Hampstead Theatre ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

 

 

 

 

 

 

 

 

I’ll admit it: I’m a big fan of whatever the Hampstead Theatre producing team offer, despite the news of big changes in December 2022 with Arts Council funding being slashed meaning the the artistic director Roxana Silbert was to step down.

It is, after all, the place where the 2018 London revival of Tony Kushner’s Caroline, or Change debuted (starring the tour de force that is Sharon D Clarke which transferred to the West End and subsequently appeared on Broadway, prior to suspended production due to COVID-19, but did eventually reopen in Jan 2022); simply put, the theatre excelled in its authentic narratives of  under-represented stories as we also saw last year with Pooja Ghai’s erudite and simply breathtaking Lotus Beauty.

However, after a jerky start to 2023’s Spring season with last month’s show (The Art of the Illusion) in the downstairs space, it would appear that the main stage also hasn’t quite found its footing with the world premiere of Ruby Thomas’ Linck & Mülhahn.

It follows the tale of two lovers looking to live beyond the confines of eighteenth-century society. On the one hand we have Anastasius Linck (played by Maggie Bain), who has deserted the army and is eventually sentenced to death for charges related to sodomy. Note: if you want to know a story of queer joy, I would send you elsewhere for this production’s second act is rife with misgendering (typical of its time, I should add), and may make some from the community discussed at unease as a result of this. Maggie Bain elaborates on the matter on a recent Instagram post in the lead up to Press Night after Theatre Queers Meet Up expressed concern on Twitter.

Linck & Mulhahn by Ruby Thomas ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

Returning to the action on stage, the love interest is played convincingly by Helena Wilson. The outfits are of period costume nature and leave something new desired as it appears to be over-kill with recent productions seemingly unable to bring fresh ideas (given the modern sound of The Clash feature during scene changes); alas, when it comes to costume departments there’s nothing of the sort which is a peculiar choice in all honesty.

As the action moves on and in the second half, there’s some brilliant performances (especially in the comedic timing). Qasim Mahmoud and Sammy Darweish turn in brilliant performances, with their comedic timing prompting unanimous bellows of laughter.

This production excels when the love between the titular characters is at the forefront, as Maggie Bain and Helena Wilson brilliantly portray the anguish of longing for and finding something unobtainable in your world. The set design (credit Simon Wells) uses the revolve for some impressive scene transitions, though not entirely smooth, with at times jarring sounds.

It doesn’t do much other than that, and I wonder if it felt a little rushed at times, and the relevance of certain character attributes (the inclusion of the bowl of peaches during scenes with Catherina and her mother) a little too discreet. Further, the sound is jarring when it shifts scenes; this, along with the clumsy set changes often induces cringe-worthy moments in an otherwise engaging production.

Linck & Mulhahn by Ruby Thomas ; Credit and copyright: Helen Murray www.helenmurrayphotos.com

It is, after all, an intriguing story and I am glad it exists. But one must address the overall execution as well as the very legitimate concerns of Transparency (from those who voiced their legitimate concerns) for future productions from other producing houses;  going forward, given that it was left to the only Queer person to address these in their own time and within a personal capacity, Creative teams really ought to do better when making it clear how Queer people’s stories are to told.

To conclude, this piece does what the writer wants it to do: to show that queer people have always existed, and I’m looking forward to more of these stories for audiences to broaden their learnings on marginalised groups.

Listing information: Until 4 March 2023:

MAIN STAGE – WORLD PREMIERE 

LINCK & MÜLHAHN
By Ruby Thomas

Directed by Owen Horsley 

Designer Simon Wells 

Lighting Designer Matt Daw 

Sound Designer Max Pappenheim 

Casting Director Helena Palmer 

Assistant Director Dewi Johnson

Cast Daniel Abbott, Maggie Bains, Lucy Black, David Carr, Marty Cruickshank, Kammy Darweish, Qasim Mahmood, Leigh Quinn, Timothy Speyer and Helena Wilson. 

Address: Hampstead Theatre, Eton Avenue, London, NW3 3EU

Box Office: 020 7722 9301 (Mon – Sat 10.30am – 7pm) | hampsteadtheatre.com 

Dates: Friday 27 January 2023 – Saturday 4 March 2023

Audio Described Performance: Saturday 25 February at 2.30pm with a Touch Tour at 1pm

Captioned Performance: Tuesday 28 February at 7.30pm

Categories
Theatre Reviews

REVIEW: ⭐️⭐️.5 Eureka Day📍Old Vic


Ben Schnetzer, Susan Kelechi Watson, Mark McKinney, Helen Hunt and Kirsten Foster in Eureka Day at The Old Vic.
Photo by Manuel Harlan

Strong individual performances but a show that drags under the guise of the “should-we-shouldn’t-we?” when it comes to vaccinating for MMR

When I heard about this play, I wasn’t sure what to think as I hadn’t heard of Helen Hunt – nor was I aware of Jonathan Spector’s work. Now, I’m all for trying a new piece of theatre that had been ladled with heaped praise coming from over the pond.. The Old Vic website describes it as follows:
Every child is welcomed at the progressive Eureka Day school in Berkeley, California – it’s a point of pride for the parents on the Executive Committee. But when a public health scare erupts, it turns out tolerance and togetherness are no match for mumps…
In Jonathan Spector’s timely and hysterical comedy, polite debate descends into ideological warfare, as a democratic utopia tears itself apart. Academy, Golden Globe and Emmy Award winner Helen Hunt (As Good As It Gets, The Sessions, Mad About You) stars alongside Kirsten Foster (Life of Pi, West End), Mark McKinney (Superstore), Ben Schnetzer (Pride) and Susan Kelechi Watson (This Is Us), directed by Katy Rudd (Camp Siegfried, The Ocean at the End of the Lane). A co-production with Sonia Friedman Productions
The stage for this is a really nice feature, it feels like you’re in a box that encapsulates the tensions about to be raised in this dramatic piece. Though, for me, this story about “big questions” just felt too broad and just like something that really went on when it could have sharply cut and done and dusted in a 90-minute one act play. The funniest part was the ten minutes before the first act ended, looking at human behaviour online. I wish that there was more of that, but otherwise the play did jump up off not nearly as much as I’d liked it to have.
Now, don’t get me wrong, the individual performances were searingly captivating (especially from Susan Kelechi Watson and Kirsten Foster) but the rambling of ideas and lack of set movement and connectedness made this fall flat for me. I was, at times, just boring. I wish it success,  even if I felt after years of discussions re: COVID vaccines that a night at the theatre is one to avoid anything that could even bring a glimmer of “lockdown” back.
On until 31 October: https://www.oldvictheatre.com/stage/event/eureka-day
{#PRInvite #PR #AdvertisementFeature #Gifted in exchange of an honest review}