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Theatre Reviews

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 Casting News

CASTING NEWS: MEAN GIRLS: The Musical cast announced for Savoy Theatre run – starring Lucca Chadwick-Patel, Grace Mouat, Aka Mitchell and more!

Get in, losers, MEAN GIRLS *is* coming to London!

The producers of the forthconibgn screen-to-stage adaptation of MEAN GIRLS in the West End – Lorne Michaels, Sonia Friedman Productions, and David Ian for Crossroads Live –  are delighted to announce the full cast and creative team . The musical comedy (based on the Paramount Pictures film of the same name which was released 20 years ago this April) will debut at the West End’s Savoy Theatre on 5 June 2024.

Lucca Chadwick-Patel (MAMMA MIA!, Legally Blonde, My Beautiful Laundrette) as Kevin Ganatra, captain of ‘The Mathletes’. Daniel Bravo (Cruel Intentions, Witness for the Prosecution) takes on the role of Aaron Samuels ‘one of the most popular guys’ at North Shore High.

Charlie Burn (Les Misérables, Disney100 UK tour) will play Cady Heron who after growing up in the African savanna returns to suburban Illinois and joins North Shore High. The Plastics are Georgina Castle (Dirty Dancing, Elf the Musical) as the charming but ruthless Regina George, with Elèna Gyasi (SIX – UK tour, Treason the Musical – UK tour) as Gretchen Wieners and Grace Mouat (Before After, The Great British Bake Off Musical) as Karen Smith.

Elena Skye (Les Misérables, Kinky Boots) and Tom Xander (A Midsummer Night’s Dream, The Book of Mormon) play best friends Janis Sarkisian and Damian Hubbard.

Ako Mitchell (The Sound of Music, Black Superhero) will play North Shore Principal Mr Duvall, while Ms Norbury – the role originated in the 2004 film by MEAN GIRLS creator Tina Fey – will be played by Zoë Rainey (Made in Dagenham, An American in Paris) who also plays the roles of Mrs George and Ms Heron.

They are joined by Tia Antoine-Charles, Georgia Arron, Liam Buckland, Shonah Buwu, Baylie Carson, Freddie Clements, Siobhan Diffin, Clíona Flynn, Fergie Fraser, Angus Good, Jenny Huxley-Golden, Holly Liburd, Corey Mitchell, Mervin Noronha, Aharon Rayner, Trézel Sergeant, Josh Singleton, Annie Southall, Lillia Squires, Tommy Wade-Smith and Holly Willock.

It’s gonna be a little bit dramatic…

Broadway’s hilarious hit musical from an award-winning creative team including writer Tina Fey (“30 Rock”), composer Jeff Richmond (“Unbreakable Kimmy Schmidt”), lyricist Nell Benjamin (Legally Blonde) and director and choreographer Casey Nicholaw (The Book of Mormon), opens at the Savoy Theatre this summer.

Meet The Plastics –Regina, Gretchen and Karen. They rule North Shore High and will burn anyone who gets in their way. Home-schooled Cady Heron may think she knows a thing or two about survival of the fittest thanks to her zoologist parents, but high school is a whole new level of savage. When Cady devises a plan to end Regina’s reign, she learns the hard way that you can’t cross a queen bee without getting stung.

Expect iconic characters, razor-sharp wit, and killer songs. Grab your friends and your cool mom, this is going to be fetch – and YES London, we’re making it happen!

The reign begins June 2024. If you want to sit with us, book your tickets and don’t forget… on Wednesdays, we wear pink.

Joining the award-winning creative team for MEAN GIRLS in the West End are Scott Pask – Scenic Design, Katrina Lindsay – Costume Design, Kenneth Posner -Lighting Design, Brian Ronan – Sound Design, Finn Ross and Adam Young – Video Design, Josh Marquette – Hair Design, Mary-Mitchell Campbell – Musical Supervision, and Natalie Gallacher for Pippa Ailion and Natalie Gallacher Casting – Casting.

MEAN GIRLS is now booking to 16 February 2025 with over 45,000 tickets at £40 and under, and over 140,000 just-released tickets available. The access performances currently on sale are as follows – Audio Described on Saturday 7 September at 2.30pm, Captioned Performance on Saturday 14 September at 2.30pm and British Sign Language on Saturday 21 September at 2.30pm.

MEAN GIRLS had its world premiere in 2017 at the National Theatre in Washington, D.C and opened on Broadway in April 2018 at the August Wilson Theatre to ecstatic responses, where it played to packed houses. The show then went on a hugely successful US tour in 2019 and is currently on its second US tour. The MEAN GIRLS musical film adaptation from Paramount Pictures was released globally in cinemas in January 2024 and was the #1 film at the Box Office in multiple countries including the UK and US.

Originally released in 2004, 20 years ago this April, MEAN GIRLS has had a profound impact on pop-culture for nearly 20 years. Tina Fey’s hilarious and relatable portrayal of high school life struck a chord with audiences across the globe and the film’s whip-smart satire, iconic catchphrases, and unforgettable characters made it a phenomenon that remains a cultural touchstone to this day.

Working with ATG’s Creative Learning Department, MEAN GIRLS will be providing a selection of matinees for schools and community groups who otherwise may not be able to access the show.  To complement this, workshops and Q&As will be made available to these groups that centre around anti-bullying and empowerment. A weekly ticket access scheme will also be announced closer to performances.

Categories
Theatre Reviews

REVIEW: The Choir of Man ⭐️⭐️⭐️📍Arts Theatre

Photo credit @The Other Richard

Entering the Arts Theatre auditorium (the last time I did so, it was to see Six and Bonnie and Clyde), I was amazed to see an actual on-stage bar serving pints to the audience members in the Stalls. Yes, real pints! Managed by stage managers – who kept the number so the stage isn’t overfilled – this was a really nice personal touch to set the scene of tonight’s theatre at The Choir of Man: The Jungle.

Photo credit: The Other Richard

With a huge opening number ‘Welcome to the Jungle’, which provided an energetic start to a high octane 90-minute set that will leave even the most stone-hearted person wanting to get up and boogie. Whilst the storyline and premise are at-times flimsy, the cast in this show are what make it such a roof-raising production. There’s some rather strange choices in the book re: jokes at the expense of marginalised folks, it was also disappointing to see the lack of women in pubs which as we know aren’t barred only by society’s prejudices.

However, those slight barbs aside, that did not entirely detract from what were wonderful performances. In particular, the piano-playing and stunningly sounding Michele Maria Benvenuto as the Maestro. Everything we saw of Michele, spilled into the audience: the smile and the way that the talents from the piano-playing skills, The camaraderie between the on-stage cast exuded confidence, was enough to make anyone (including me) jump up for a half pint of the non-alcoholic stuff.

If you want to take someone who’s not really into Musical Theatre (or even jukebox musical) this may be the gate-way musical to tantalise those vocal chords and help to cheer you upon after a long week.

Until June 2024: https://www.choirofmanwestend.com/

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

REVIEW: Brassic FM ⭐️⭐️⭐️⭐️📍Gate Theatre

work. class.
work + class.
working class.

“this is a message for ange

​we’re all thinking of you

​know we love you

​know what you’re doing for the culture

know what you’re doing for me”

Photo credit : Craig Sudden

Brassic FM is nothing without the listeners. While Amir chronicles the precarious nature of living as an undocumented worker in London, Amina searches for help finding out what life was like for her family when they first moved to the UK from Pakistan. But it soon becomes clear it’s impossible to talk about working class culture without looking at the power dynamics of those policing and those being policed.

From cars, kitchens and bedrooms across the city comes a theatrical mixtape – a love letter – to working class culture and music. Brassic FM is a collection of snapshots and shout-outs for the people. Join us for a celebration of the underground sounds of the city.

Co-created by poet Zia Ahmed and Stef O’Driscoll, comes a new piece of theatre about precarity, and how  perspectives on work and making money are inherently tied up in class and culture.

The concept of Brassic FM is one that’s overly in-your-face; there’s political messages lined up a plenty, and a sense of an urgent overhaul of the system that seeks to destroy marginalised voices.

In the play’s first few minutes, prepare to be thrown into the underground-radio station, Brassic FM, and JJ (played by Jonny Britcher) hands out to the audience (interactive is something we’re seeing a lot of that these days aren’t we?) strips of paper with a number to text and devote a shout-out of your own. The breaking of the fourth wall, the invitation to be part of the community whose message is so present in this piece. What it does is take us into the world some of us are overly familiar with in the world of politics, as was the case when the protest bill was made law in the Public Order Bill which commenced on 3rd May 2023.

The set displays posters which include “Kill the Bill”, part of the backlash against the law; a gritty set prepares the audience for the scaffolding (merely reflecting one’s mind in the current state of affairs?) and a plethora of light-up screens that light up in various colours. The stand-out segment concerned a woman who finds her mother’s tape recordings, and it felt unique as I’d never seen that represented on stage. Alas, the effect of the tapes being uncovered and translated by a friends did also feel repetitive and could have been one scene.

However, there’s something truly arresting in the ‘shout-out’ on the radio station that causes beautifully uplifting moments during this production. It’s the love one has for a fellow human being, it’s to lift someone’s spirits, to wish them happy birthday or merely appreciate another human being. We need to deploy more of this concept of shout[ing]-out more, and use every inch of our body to feel the presence of each other. I enjoyed this immensely; the rich study into pirate radio stations, and the care into crafting an authentic piece were noticeable.

The three actors in this give stellar performances: Zainab Hasan, in particular, has a masterful capability to shine in her seamless ways to shift between characters and accents. Jonny Britcher’s ability to rouse an audience was a testament to a strong performance; and as for, Zakiyyah Deen, it was great being able to see an infectious performance to complete a robust trio.

Where this production could have been improved on, was the rather long running time. For me, it felt like the numerous strands of the storytelling – whilst they were poetically versed – they felt contrived. The tightening and focus of the material was something needed to elevate what was an affecting piece.

The play crosses many strands, and this is I suppose deliberate: to showcase those on the margins, who are most affected by the injustices in life and without linear narratives. If you’re up for a night out where you’re immersed in the action  where you can hark back to old school nostalgia, then this is exactly the place to be.

Until Sat 30 Sep.

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:
>> https://ko-fi.com/hamzajahanzeb <<

Listing information:
evening performances: 7.30pm
saturday matinees: 2:30pm

£12 during previews (4-6 Sep)
£18 full price
£15 Equity members, 60+
£12.50 Access patrons, Camden residents / workers, Under 26s, Students
£5 Unwaged / Unemployed

Camden Community Night: Mon 4 Sep, 7.30pm

Pay What You Can performance: Sat 16 Sep, 2.30pm & 7.30pm

Supporters’ Night: Thu 14 Sep, 7.30pm

Audio-Described Performance: Sat 16 Sep, 2.30pm (a touch tour is available before performance – add to basket)

Relaxed performance: Mon 18 Sep, 7:30pm

BSL Performance: Tues 19 Sep, 7:30pm

Captioned Performance: Tues 26 Sep, 7:30pm

 

Categories
Theatre Reviews

REVIEW: Next to Normal ⭐️⭐️⭐️⭐️⭐️ 📍Donmar Warehouse

Photograph: Marc Brenner

For those of you who know, themes of mental health and grief are often not the easiest to portray in a show whereby we’re dealing with sensitive topics. However, in the case of the Donmar Warehouse’s new production (currently playing until 7 October) directed by Michael Longhurst, it’s a steady build up of a monster that ruptures the entire Goodman family; prepare for an engrossing evening at the theatre where you will laugh, cry and feel so much empathy for each family member as they navigate the central character’s turmoil.

Photo credit: Hamza Jahanzeb

Caissie Levy’s turn in Next to Normal as Diana Goodman, along with the starlets that are Jack Wolfe and Eleanor Worthington (who play her children Gabe and Natalie), is one of sheer triumph. There’s a study that has occurred by all of the aforementioned actors that delve into the character that goes beyond a skin-deep portrayal.

Levy’s previous roles (which include: Elphaba in Wicked, Elsa in Frozen, Sheila in Hair and Molly in Ghost) have inspired a generation of  musical theatre actors who look up to this triple-threat and a powerhouse in the world of musical theatre. It’s simply a pleasure that I wish every person can have, watching Levy at her best and playing a multi-layered and complex character with confidence and pizzaz. The moments of tenderness offered in her characterisation of the mother haunted by her past prove to be really affecting. Additionally, she is supported by a tremendous and hardworking cast, whose efforts to display a dysfunctional family in utter turmoil as they navigate the ill mental health of the matriarch make this gripping viewing.

Jaimie Parker (who plays Diana’s husband) and Trevor Dion Nicholas (as both Dr. Madden and Dr. Fine) slot well into the people who interact with Levy’s feisty and fraught Diana: the husband haunted by their domestic past.

Photograph: Marc Brenner

Meanwhile, Jack Ofrecio plays the bad influence to her daughter Natalie; the is delivered in a sweet, and refreshing portrayal given the teen’s unruly behaviour.

The set, designed by Chloe Lamford, transforms the small Donmar space with a scandinavia-inspired home where most of the drama unfolds (or should I say, revolves). The video projections, often simply pills floating against a background, do add to the drama; they are, however, most effective when Diana is suffering in what can only be described as a panic episode, and it’s the glowing circle that pulsates effectively to show the fracturing of the mind.

We will findly look back on this production in a decade’s time, to see both Wolfe and Worthington-Cox’s trajectory to stardom beyond the realms of musical theatre. Whilst the lyrics aren’t the most inspiring (at times, the rhyming of grieve and repreieve simply seem futile), the book is one that is timeless. Even with subtle changes that reflect society (such as X instead of Twitter), Longhurst’s direction seamlessly brings the musical to the here and now. It feels real, viscerally captivating one’s attention and utterly convincing as a piece.

And of course, Levy’s ability to flitter between Broadway and West End shows – those that herald a well-deserved mass following – is what we need more of her in the UK and for her to bring her quality of the craft.  This is evident when we hear the heart-wrenching ‘I Miss The Mountain’ and ‘You Don’t Know’. I do also want to mention the stand out moments that include Jack Wolfe’s ‘I’m Alive’ and ‘Superboy and the Invisible Girl’ (with Eleanor Worthington-Cox).

To put it simply, this is the hottest show of the Autumn (I do hope for an extension, or better still a West End transfer), and this iteration of Next to Normal will be remembered for its sheer effectiveness in translating a book from the 2000s to today with a stellar cast and creating an experience that makes the viewer feel whilst also being able to think about the piece for several weeks after.

Until 7 October 2023 only (Do check the Donmar Warehouse site daily for returns, the run is completely SOLD OUT)

🎟️BUY TICKETS🎟️

**Refresh every day to find returns/daily releases

N.B. I bought tickets for this show, and was not invited. I paid £45.00 per ticket, though I’m told Standing seats are also sometimes available at £10.00.

Categories
Theatre Reviews

REVIEW: La Cage aux Folles ⭐️⭐️⭐️⭐️📍Regent’s Park Open Air Theatre

LA CAGE AUX FOLLES, , (book by HARVEY FIERSTEIN, music & lyrie - JERRY HERMAN, based on the play by - JEAN POIRET, Director - Timothy Sheader, Set designer - Colin Richmond, Choreographer - Stephen Mear, Lighting - Howard Hudson, Costume Designer - Ryan Dawson Laight, Make-up Designer - Guy Common, Regents Park Open Air Theatre, 2023, Credit: Johan Persson/
10th August 2023
Credit: Johan Persson

London isn’t short of musical revivals. We currently have We Will Rock You at the London Coliseum, Cabaret adorning what was once the Playhouse Theatre but is now cleverly transformed into the Kit Kat club and Grease which appears to be on annual rotation at the Dominion (alongside Elf and Dirty Dancing).

Therefore, champions of new writing often bemoan the risk-averse producers for programming a show that offers new writing (from either side of the Atlantic) as we saw with the brilliant A Strange Loop.

However, La Cage aux Folles is a show last revived in 2017 by Bill Kenwright (Sorry, I can’t forgive BK for what happened with my all-time favourite show Ghost) with a cast helmed by John Partridge (Eastenders, Cabaret) as Albin. It was the first production to tour this  Jerry Herman and Harvey Fierstein’s classic originally having been performed in 1983 (Broadway) and 1986 (West End) respectively – and this particular production brings warmth, heart and a real camp-tactic time at the Regent’s Park Open Air theatre for the summer season.

Credit: Johan Persson

For those of you, who like me who know nothing about the plot, La Cage‘s story centres around Georges (Billy Carter), who is the owner of a glamorous drag nightclub called La Cage Aux Folles, and his husband Albin (Carl Mullaney), the club’s number one performer Zaza. We then meet Georges’ son, Jean-Michel (Ben Culleton), who announces that he is engaged to Anne (Sophie Pourret). Unfortunately, she is also the daughter of a conservative politician, Edward Dindon (normally played by John Owen-Jones, however Craig Armstrong was the cover on the night I attended). As Anne’s family is ultra-traditional and anti-gay, and in an attempt to impress his fiancé’s family, Jean-Michel ensures that both Georges and Albin hide their true identities in order to deem “acceptable” by society’s conventional standards. Over the course of the story Albin and Georges – along with their son Jean-Michel who re-discover the true meaning of family – and this show interrogates the want and need to put yourself last so that the ones you love can come first.

Each actor in this production gave it their very best, and wow-ed: from high kicks, to the farcical comedy deployed the audiences laughed from side to side (or at they say at La Cage, “at an angle”). The director Tim Sheader’s work I am not overly familiar but given the news of his departure to the Donmar Warehouse, I was quite  glad to have seen a work directed by him at the Open Air. The attention to detail in the costumes was also a highlight. I loved the candelabra on Zaza’s head, and the sheer fact you could see every costume bedazzled to its every inch. Wherever you’re sat in this stunning outdoor venue, you’ll have a great view in this 1240-person theatre as it really is a visual feast-for-the-eyes.

Where this production could have been better was with the odd set pieces that adorned the stage at either side, and when actors waited by the sides of the stage to go into their scenes. This therefore made it appear as most of the stage wasn’t being used to its full capacity (instead holding pieces to be wheeled on, or microphones to be ropes strategically to prevent an actor from presumably falling over), and I felt it could have been even grander at points. Further, the lack of actor pronouns could have been included in the programme which was a shame and whilst the script is one that harbours language of the past (which would not fly now), there were a few cringe-induced moments when misogynistic stereotypes are bandied around. A whole re-working of the book need not be deployed, but some attention to phrases that will resonate could have been changed given the changes elsewhere in this production.

Credit: Johan Persson

A special mention has to be given to Carl Mullaney (whose shows at the Kinky Cabaret I’ve been to in the past) as Albin/Zaza, and who gets to sing the iconic “gay anthem” at the end of Act 1 was sung so effortlessly and with emotion. Along with the removals of the original production’s reference to francs (instead, we now have pounds) and a northern accent which is well done. Mullaney’s a tour-de-force and the studying that has gone into marking his own stamp on this has to be appreciated; I eagerly await what he will go on to do next.

Where this production collectively  amped up was in the second act, and in the form of West End superstar Debbie Kurup (whoae character comes complete with a hilarious South Shields accent). She was superb for the entire time that she spent on stage – and I only wished that we got to see more of her immense talent. The role she played was smaller, but I did enjoy the comic relief and a stunning voice.

All in all, the production of La Cage is one of the better things to have come out of the Open Air in recent years – and the musical revivals that we’ve been blessed* with as it is a superb night in a venue where watching performers play to a crowd in the outdoors is a thrill like no other.

Until 16 September: https://openairtheatre.com/production/la-cage-aux-folles

*or perhaps, cursed?

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Theatre Reviews

REVIEW: Hope Has A Happy Meal ⭐️⭐️⭐️📍Royal Court Upstairs

Tom Fowler’s Hope has a Happy Meal is the sort of piece that you’d be excited to watch – a farcical quest throughout a hyper-capitalist country our protagonist has left and is returning to – but the landing of which didn’t quite go as smoothly on this occasion.

HOPE HAS A HAPPY MEAL by Tom Fowler ; Credit and copyright: Helen Murray
www.helenmurrayphotos.com

Set in the fictional People’s Republic of Koka Kola – the story follows Hope who’s a mother with issues, to put it lightly – wherein the forests are named after corporations and corruption is rife. That’s all we’re told, and the beginning scene in an airplane involves the titular protagonist (played convincingly by Laura Checkley and whose facial expressions and ability to captivate the audience at each level of Naomi Dawson’s intriguing set, a highlight in my eyes)- who really garners lots of laughs from the audiences speaks to a fellow passenger before descending. The comedic timing and initial exuberance of this piece left the rest of the material somewhat lacking in ways I wish it retained the sparky start. From this moment on, the play dazzles but goes onto a journey of somewhat fizzling out and lacking from direction in what the source material intended.

HOPE HAS A HAPPY MEAL by Tom Fowler ; Credit and copyright: Helen Murray
www.helenmurrayphotos.com

In the play, Hope very quickly makes a friend in Isla (who is raising a small newborn, belonging to her sister) and they are on a mission to escape. The scenes with them in a toilet are quite brilliant written and acted – despite the plot at times struggling to hold up the satirical thriller concretely. Nima Taleghani is a highlight providing some light relief in his character Ali (a quirky, but slightly odd forrest ranger);  overall the project ultimately felt too much all happening at once, and I in particular felt like it started higher than it ended in terms of how tight a piece it was.

Nevertheless, the company did make the most of the script, and the direction (especially in the scene with the gameshow clown) were both most superbly executed. It would appear that the excess balloons from the Royal Court’s downstairs production of Baghdaddy were utilised well, but it’s a shame the Golden Arches didn’t come along with this production.

Sat 03 Jun – Sat 08 Jul £12 – £25
Jerwood Theatre Upstairs, Royal Court Theatre:
https://royalcourttheatre.com/whats-on/hope-has-a-happy-meal/#book

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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

Categories
Theatre Reviews

REVIEW: Two Billion Beats ⭐️⭐️⭐️⭐️⭐️📍Orange Tree Theatre

Watching Two Billion Beats last week meant that I got to visit a new producing house for the first time: the Orange Tree Theatre (OT). Nestled a short walk away from the Richmond station, it can be reached easily on a train from Vauxhall station and boasts brilliant writing that focuses on being a powerhouse for independent theatre. Having also read up on this play, it has previously featured before on the OT’s programming schedule during the COIVD-19 lockdowns. And rest assured, after my visit I can now see why this robust two-hander returns for it simply effervesces at every given moment.

The plot revolves around Sixth-former Asha (Shala Nyx) and high-school student Bettina (Tanvi Virmani), two sisters at a school in Leicester who face their own problems: Asha wants to get into Goldsmiths in London, and Bettina is a victim of bullying on the bus to school. It’s the start of the play which floored me, as audiences are greeted to a remix of Lady Gaga’s 911 as well as an austere round theatre staging covered in grey. The bag Asha has bears a badge supporting Trans rights, and brilliant costume department need to be praised for showing how the younger Generation Z youth are very much in favour of inclusivity; the attention to detail made me feel instantly connected to the stories explored on stage.

When the opening scene began, I felt transported to the bus stop where the sisters converse as the younger one dilly-dallies to avoid her arch nemesis. Bettina’s sharp entrance proved to show  how the dialogue bounced, created spectacularly comical moments and set the scene instantly. Further, Bhattacharyya’s unique nuances (especially the questioning of historical figures such as Gandhi, Ambedakar and Pankhurst) coupled with Asha’s bolshy attitude was purely infectious storytelling on the writer and director’s behalf. The intense study of the characters and their arc throughout showcases witty writing (no spoilers!) and had me riveted.

Shala Nyx in Two Billion Beats.
Photo credit: The Other Richard

Having already witnessed the brilliant playwright Sonali Bhattacharyya’s Chasing Hares last year at the Young Vic, this piece displayed her genius as a sharp writer. The character studies were completed done with sensitivity and vivacity; I felt really compelled by the dialogue on stage throughout. In terms of the direction, Nimmo Ismail and Tian Brown-Sampson’s direction effective as audiences were invited into the minds of Asha and her sister (the aspirations to own a hamster reminded me of my own teenage years). At all times, the immersive nature of the piece felt like you could tap both on the shoulders and intervene to give them some cousin advice. It was cosy, intimate and I especially loved the lighting moments (from the darker more sinister internal thoughts to the warm bright day-time tones) that uplifted the action on stage seamlessly. As the events seamlessly unfolded, I was also gripped by Chi-San Howard’s movement: at one point, we see Asha teeters across the stage. It was crafted with such conviction and felt layered, making it evident that a lot of thinking had been done to stage this on the OT’s in-the-round stage: from the LED bus stop sign, to the railing and even the graffiti-tagged wall, the scenes changed with ease.

To conclude, I walked out of the auditorium feeling uplifted in a warm and fuzzy feeling, my faith in the two young people of tomorrow and the two siblings’ caring nature leaving a firm impact; that for me, is how successful storytelling is created. I’ll certainly be back at the Orange Tree if the standard is as good as this play.

{ Advertisement Feature – Ad – PR – I was given a pair of tickets to review TWO BILLION BEATS in exchange for my honest review, and no editorial control is given to external theatre makers and is the reviewer’s personal thoughts }