Reviews – Page 48 – Theatre Things

Review: Radiant Vermin at the Brockley Jack Studio Theatre

Published on November 25, 2018July 20, 2019 by LizLeave a comment

Philip Ridley’s Radiant Vermin, which sees a young couple resort to murder to secure their dream home, is a disturbing supernatural fantasy based on an equally depressing reality. With house prices still prohibitively high for so many, the play asks us to question not only what we would be willing to do to get on the property ladder – but also where we’d be prepared to stop.

Jill (Laura Janes) and Ollie (Matthew John Wright) are a young couple, recently married and looking forward to the birth of their first baby. As they despair of ever escaping their rented flat on a grotty estate, they’re invited by the mysterious Miss Dee (Emma Sweeney) to join a government scheme that will give them a free house, on the condition they take care of all the renovations. The couple jump at the chance, knowing it’s the only way they’ll be able to afford their dream home. When Ollie accidentally kills a homeless man on their first night, only to discover their kitchen has been magically transformed into the one they saw in Selfridges, he and Jill realise what they need to do, and set out on a murderous mission to complete the rest of the house. But then their baby is born, and new neighbours move in – and pretty soon Jill and Ollie find they can’t stop “renovating”, despite the terrible cost.

The play takes the form of a “confession” to the audience; Jill and Ollie hope if they can make us understand then it’ll justify what they’ve been doing and, more importantly, allow them to continue. Ridley’s play is a damning comment not only on the housing crisis but more broadly on the ease with which human beings adjust our moral compass to suit our own needs, implicating not only its characters but also the audience. Jill and Ollie seem like nice, normal people; the way they tell their story is very funny and engaging, and in spite of ourselves we find ourselves both liking and relating to them.

This is due largely to winning performances from Laura Janes and Matthew John Wright, who quickly build a rapport with the audience and bring the story vividly to life with the aid of absolutely no set or props. The action in Dan Armour’s production takes place against a stark white backdrop, and almost everything that happens is not seen but described by Jane and Ollie, inviting us to imagine, perhaps, our own dream home taking shape around them. Although excellent throughout, the pair’s stand-out moment comes towards the end of the play, at a birthday party for Jill and Ollie’s baby son, when the two actors play between them around twelve different characters – a high-speed tour de force that leaves both actors and audience breathless.

Though the majority of the stage time belongs to Jill and Ollie, it’s clear from the start that they’re not at all in command of the situation. Despite appearing only twice, all the power is in the hands of Emma Sweeney’s Miss Dee, who calmly manipulates and seduces the couple into taking her deal. There are enough clues scattered throughout the play to help us figure out Miss Dee’s true identity, but even without them it doesn’t take a genius to understand who – or what – we’re looking at.

Deeply disturbing but undeniably funny, Radiant Vermin is a cleverly written play that turns the spotlight ultimately on its audience. We all like to think we wouldn’t take the deal – but in a world where materialism reigns and enough is never enough, can we ever really know for sure?

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Boujie at Drayton Arms Theatre

Published on November 24, 2018July 20, 2019 by LizLeave a comment

We all like to believe that wealth and success wouldn’t change us, or our relationships with the people closest to us – but how realistic is that when it actually happens? This is the question asked and rather gloomily answered by Hassan Govia’s Boujie, in which entertainment blogger Devin (played by Govia) invites his friends round for Friday night drinks. They’re suitably impressed by his posh new flat, but the evening turns sour thanks to a combination of Devin’s annoying neighbour Giles (Freddy Gaffney), a surprise visit from his sister Giselle (Cristal Cole), and a shock revelation about the true extent of his financial success.

The issues raised by the play are interesting, relevant and well presented, enabling us to see the argument from both sides and exploring the complex psychology behind human beings’ relationship with money and class. Devin feels compelled to keep acting a role that he no longer feels comfortable with just to keep his friends happy, and to conceal his true feelings about the working class background and family he’s left behind. His friends (Natali Servat, Peter Silva and Maria Yarjah) are quite content for him to live in a nice flat all the while they think he can’t really afford it, but take offence when they realise he’s actually done pretty well for himself. But Devin’s not afraid of passing judgment either; having elevated himself, he now feels he has the right to look down on anyone who doesn’t do the same, assuming rather blindly that we must all be motivated by the same ambitions.

As a script, Boujie keeps on giving; the play gives us plenty to think about both in the moment and afterwards as it explores race, class, personal relationships, and how each of us chooses to define our own success. There are, however, moments and details that feel a little contrived, and in trying to cover so much material, the dialogue doesn’t always flow as naturally as you might expect between good friends. The format of the play also includes a number of soliloquies, and while there’s nothing wrong with that – and all are very well performed by a talented cast – as the play goes on it begins to feel a bit more like watching a debate than a social occasion.

The characters are, for the most part, well drawn and we get to know each of them pretty well as the play goes on; in particular, we gain a good understanding of what drives them from a career and financial point of view. The one exception is next door neighbour Giles – despite an enjoyable comedy performance from Freddy Gaffney, his absolute lack of social or cultural awareness (particularly given what we later learn about his relationship status) feels oddly one-dimensional and unrealistic, jarring against the other, far more complex and believable characters.

A rather depressing outlook – despite his success, Devin doesn’t fit in with either his old friends or his new neighbours, and seems doomed to remain alone and miserable like a modern-day Scrooge – is saved by a touching final scene between Devin and his sister Giselle. Of anyone, she has the most reason to be mad at him, and although it feels like her refusal to give up on him may not be entirely selfless, it does at least bring the play to a rather more upbeat conclusion.

Though billed as a comedy, Boujie actually has some quite serious comments to make about how we let money and status dominate our lives, and prompts fewer laughs and more self-reflection than you might expect. It’s not perfect (yet), but this is a promising debut from Hassan Govia and Unshaded Arts, and with a bit of tightening in places it has the potential to make an even more powerful statement.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉

Review: Rock of Ages at the Orchard Theatre

Published on November 22, 2018July 20, 2019 by LizLeave a comment

Chris D’Arienzo’s 2005 jukebox musical Rock of Ages has a lot going for it: a soundtrack of epic 80s rock classics, a feel-good LA love story, and perhaps most importantly, an absolute refusal to take itself seriously at any point. Add in the universally fantastic cast of Nick Winston’s touring production, and – a little bit of questionable humour aside – you’ve got the recipe for a great show (but maybe leave the kids at home).

The year is 1987, and wannabe actress Sherrie (Danielle Hope) has just arrived on the Sunset Strip, where she meets wannabe rockstar Drew (Luke Walsh), but their budding romance is endangered when actual rockstar Stacee Jaxx (Sam Ferriday) turns up. One thing leads to another, and as Drew’s getting discovered by a record producer, Sherrie ends up working as a stripper for Justice (Zoe Birkett) at the Venus Club. Meanwhile local legend Dennis Dupree (Kevin Kennedy) must defend his beloved bar from two Germans (Andrew Carthy and Vas Constanti), who want to tear down the Strip and replace it with a Foot Locker – a plan also opposed vehemently by former City Planner Regina (Rhiannon Chesterman). It’s a long and bumpy road, but in the end everyone gets what they want – even if they didn’t know it was what they wanted in the first place.

The story is nothing we haven’t seen plenty of times before, but Rock of Ages realises that and leans into it, understanding that nobody in the audience has bought a ticket for the plot anyway, so why not have some fun with it? Narrator Lonny – in a hilarious, show-stealing performance from Lucas Rush – does exactly that, repeatedly breaking the fourth wall, openly acknowledging the formulaic nature of the story and turning it into a running joke that the audience is more than happy to go along with while we wait for the next rock classic.

And fortunately, we never have long to wait. We Built This City, We’re Not Gonna Take It, I Want to Know What Love Is, Here I Go Again, The Final Countdown, I Can’t Fight This Feeling, Don’t Stop Believing… and so many more hits make it almost impossible to sit still for more than a few minutes at a time. They’re also an excuse for the cast to showcase some sensational vocals; the show has an unusually large quantity of lead characters and without question, every single one of them delivers. Even the numbers that are clearly aiming more for comedy – like Lonny and Dennis’ duet in Act 2, or anything involving the Germans – don’t compromise on vocal quality. Barney Ashworth’s band are similarly excellent, and from a musical point of view, there’s absolutely no doubt that Rock of Ages is a resounding triumph.

The one area where the show falters a little is in some of the humour, which is not so much offensive as just a bit tired. For instance, it’s never really clear why the two property developers have to be German, except as an excuse to make cheap gags at their expense – and in a script that has so much good stuff going for it in terms of comedy, this doesn’t add anything and feels unnecessary. And yes, I know the show is set in the 80s, but the less said about its portrayal of women, the better. (To quote my friend at the interval, “It’s good, but you can tell it was written by a man.”)

All the same, Rock of Ages does what it sets out to do: it well and truly rocks, and does so in an engagingly self-aware way that some other jukebox musicals could definitely learn a thing or two from. Great fun for a cheesy – and slightly cheeky – night out.

Review: Parenthood – The (Brand New!) Musical Revue at Mid Kent College Theatre

Published on November 18, 2018 by LizLeave a comment

The latest show from Kent-based Fluffy Top Productions’ is Parenthood – The (Brand New!) Musical Revue about the highs and lows of… well, parenthood. With an original score and book by Emily Moody (who also directs) and Pete Moody, the production takes the form of a series of over 20 individual vignettes, exploring everything from pregnancy to becoming a grandparent. It’s predominantly a comedy, and paints a hilariously accurate – and often less than rosy – picture of life as a parent. But for all the mess and mayhem we encounter along the way, ultimately it’s a celebration of the journey and everything that comes with it.

That journey includes the sleep deprivation of the new mum, deciphering fridge doodles, competitive parenting, navigating the treacherous teenage years, waving the kids off to start their adult life… and lots, lots more. Each scene is enjoyable in its own right – many of them very much so, drawing howls of laughter from an audience who could clearly identify with the characters. The score, too, is catchy and fun (though very much adults only, due to quite a bit of bad language and a few dance moves that are best not witnessed by younger eyes). However, the “sketch show” format of the performance, which sees each scene end with a fade-out followed by a pause while the next one is set up, gives the evening a rather stop-start feel. This, along with the lack of any particular narrative flow or returning characters for us to invest in, means the show does begin in Act 2 to feel a little bit longer than it needs to be.

As a picture of parenthood, however, it’s spot on – or so I was reliably informed at the end by the ladies sitting next to me (their review of the evening: “that’s exactly what it’s like!”). Even for a non-parent, it’s clear that the comedy is very well-observed and brutally honest; much of the humour lies in the fact that the writers – who are parents themselves – aren’t afraid to say what they really think, instead of wrapping the experience of having children in excessive sentimentality. While that’s undeniably a good thing, the more reflective moments that do exist feel very few and far between, and the show could perhaps benefit from a little more emotion to balance things up a bit.

The cast of nine give strong comedy and vocal performances, despite being let down quite badly at the performance I attended by problems with the sound system. The show is very much an ensemble piece, and the variety of scenes provides each member of the cast with an opportunity to showcase their versatility, as they perform not only as a multitude of different characters, but also in a range of musical styles and some delightfully eccentric costumes (highlights include Astra Beadle’s show-stopping Superman/Princess outfit and Jordan Brown’s memorable appearance as a star in the school nativity).

As a brand new piece of musical theatre, Parenthood has much to recommend it, and with a bit of tightening up it has great potential for future development. There’s a lot to enjoy for parents and non-parents alike; the former will be able to recognise elements of their own stressful but rewarding experience, while the latter – like Auntie Jen in one of the musical numbers – can sit back, relax and revel in a childfree life of contraception and wine.

Parenthood – The (Brand New!) Musical Revue was performed at Mid Kent College Theatre from 15th-17th November. For details of future performances, visit fluffytopfriends.com.

Review: Cuckoo at Soho Theatre

Published on November 18, 2018July 20, 2019 by LizLeave a comment

Exploring what it is to be young in Ireland today, Lisa Carroll’s debut play Cuckoo comes roaring to life at Soho Theatre, leading us without preamble into the world of best friends – and social outcasts – Iona (Caitriona Ennis) and Pingu (Elise Heaven). After being publicly humiliated one too many times by their peers, the two have decided to get out of their home town of Crumlin and move to the magical city of London… although quite what they’re going to do when they get there they’re not exactly sure.

There’s a big difference between making a decision and actually seeing it through, though, and it’s not long before Iona’s excitement about their trip begins to wane – particularly when she suddenly finds herself being chatted up by local guys Pockets (Colin Campbell) and Trix (Peter Newington). It’s obvious to both Pingu and Iona’s childhood friend turned tormenter Toller (Sade Malone) – not to mention the audience – that their intentions are less than honourable, but despite multiple warnings Iona allows herself to be flattered into submission, with disastrous results for all concerned.

The heart of the story is the relationship between Iona and Pingu; the events that take place in the run-up to their departure from Dublin are, you can’t help but feel, only a catalyst to something that was always going to happen at some point anyway. In an excellent cast, Caitriona Ennis and Elise Heaven give standout performances as the two friends. Iona is an eccentric chatterbox whose over the top approach to just about everything is at first enjoyable but soon becomes wearing and ultimately alienating. Pingu, meanwhile, has opted to give up speaking altogether, having grown tired of constantly needing to justify their non-binary status, and communicates instead through a range of emphatic facial expressions.

On paper this makes for a rather uneven friendship, but it’s one that seems to work. The two stand up for each other against the bullies, and seem to communicate perfectly without any need for words. All the while they only have each other, everything’s great – but when Iona gets the first hint of a better offer, we start to realise that her friendship with Pingu might not have been quite as selfless as it appeared. One of the play’s strongest points is its conclusion, which avoids the predictable route we might expect in favour of an outcome that’s less “nice”, but perhaps rather more realistic.

Despite being two hours without an interval, the production never drags or fails to hold our attention; director Debbie Hannan keeps up a fast pace and building intensity throughout, and the energy of the cast never flags. The play isn’t afraid to take on some difficult themes, including toxic masculinity, the damaging influence of social media, and prejudice – driven by fear – against those who dare to be different. But it does so with plenty of laugh out loud humour, which means that the play is actually a lot of fun to watch despite some of its content.

An impressive debut from Lisa Carroll, Cuckoo shows a very clear understanding of what motivates young people to do the things they do – good and bad. While we may not have lived the exact scenario we see unfolding on stage, there are aspects of the story that will resonate with all of us; we were all young once, after all, and chances are we made a bit of a mess of it too. A witty and compelling play, Cuckoo is definitely worth a visit.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉