Tag: comedy

Review: Much Ado About Nothing at the Bridewell Theatre

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The Tower Theatre Company begins each performance with an announcement of their next production – which is usually only a week or two (if that) in the future; in addition to this week’s Much Ado About Nothing, they’ve got four more plays lined up between now and mid-July. Yet even with such a hectic schedule, the quality of each production remains consistently high.

Perhaps it helps in this case that the Tower Theatre are no strangers to Much Ado About Nothing; in fact this is their eighth production (the first was way back in 1933). On this occasion, the play is directed by Jean Carr and John Morton with an Austen-esque vibe. This feels rather fitting since all the romantic misunderstandings in the story wouldn’t be out of place in one of Austen’s novels – though I suspect she might have had something to say about Shakespeare’s depiction of Hero; I can’t imagine Elizabeth Bennet forgiving her fiancé quite so easily for publicly shaming and dumping her at the altar.

Photo credit: Robert Piwko

The story revolves around two main plots – that of Beatrice (Sarah Evans) and Benedick (Shane Sweeney), whose constant bickering hides from nobody but themselves the fact that they’re madly in love, and that of Hero (Asma Mani) and Claudio (Paul Isaacs), who fall in love at first sight but whose engagement comes to a swift and unhappy end on the wedding day after Claudio’s tricked into believing she’s been unfaithful. Somehow, in true Shakespeare comedy style, everything still ends happily – thanks largely to the intervention of local constable Dogberry (John Chapman) and his nice but dim band of minions.

In a strong cast, Sarah Evans and Shane Sweeney stand out with excellent comic performances as Beatrice and Benedick; taking obvious delight in their characters’ “merry war” when on stage together, they also have fun individually in the physical scenes as they dive behind screens and pillars to eavesdrop on their friends. Paul Isaacs and Asma Mani are equally well matched as the far too trusting lovers Claudio and Hero, and natural comedian John Chapman is a joy as Dogberry, whose good intentions are matched only by his hilariously terrible vocabulary.

Photo credit: Robert Piwko

Much Ado is probably one of Shakespeare’s easiest plays to follow, and this straightforward production is extremely accessible and thoroughly entertaining throughout. And if it all gets a bit ridiculous towards the end – well, we can blame Shakespeare for that. The show also looks great and has an infectious energy, the sun-kissed Mediterranean courtyard of Leonato’s home filled with ladies in colourful gowns and gentlemen in military uniform with nothing more pressing to do than sing, dance, fall in love and play matchmaker for their friends. As problematic as some of the gender roles undoubtedly are, and whether or not we subscribe to the view that the solution to all life’s unhappiness is to “get thee a wife”, this is at its heart a feel-good play, and another excellent and highly recommended production from the Tower Theatre.


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: Paper Hearts at Upstairs at the Gatehouse

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You know in The BFG (stay with me) how he makes dreams for people by taking all the different elements and blending them together? Well, this is essentially what Liam O’Rafferty, Daniel Jarvis and Tania Azevedo have done in Paper Hearts. Musical? Check. Books? Check. Love story? Check. Folksy score performed live on stage by actor-musicians with gorgeous harmonies and catchy choruses? Check, check, check, check, check. Long story short – this is my dream show, and I’m a little bit in love.

Photo credit: Tim Hall Photography

After proving a hit at last year’s Edinburgh Fringe, the show’s been developed into a full-length musical set in The Final Chapter bookshop, where aspiring writer Atticus (Adam Small) is trying to finish his epic novel of romance and betrayal in Stalin’s Russia. When the shop’s threatened with closure at the hands of a large online retailer, Atticus finds himself with only one option – finish the novel in time for the upcoming young writers competition, win top prize, save the bookshop. Simple, right? Well no, actually, because his girlfriend (Sinéad Wall) could hardly be less supportive, he’s got history to work out with his dad (Alasdair Baker) and he’s just met a girl (Gabriella Margulies), who may just be his soulmate – but for one fairly major complication…

Fact and fiction are effortlessly interwoven as we slip into the snowy Russia of Atticus’ main characters Yanna and Isaak, and follow their story – which seems to bear some striking parallels to their creator’s own life. And as the characters develop, it becomes clear they’re shaping his destiny just as much as he is theirs.

Liam O’Rafferty was inspired to write Paper Hearts by his passion for bookshops, and the show overflows from the start with that love for the written word. From Anna Driftmier’s set – built largely from books, and full of delightful details like the floating book light (which is something I never knew I wanted until I saw it, and now it’s all I can think about) – to the brilliant “book-off” where Atticus and new shop manager Lilly challenge each other’s literary knowledge, it’s a thrill for anyone who loves to read.

The cast of actor-musicians are sensational and work seamlessly as an ensemble to bring the score to life. And what a score it is, taking in a range of genres but always feeling very natural, like it’s just a bunch of friends getting together to play – and did I mention the gorgeous harmonies? There are some really beautiful songs here, with two of many highlights the heart-wrenching duet Stand Up and the title number Paper Hearts, which closes the show on a soaring high.

Photo credit: Tim Hall Photography

Perhaps one of my favourite things about the show is, despite its frequent forays into Stalin’s Russia, how very British it is; you can totally imagine it on screen as a Richard Curtis rom-com in the vein of Notting Hill. The dusty old bookshop is quintessentially British, the script has a wry, self-deprecating humour – particularly from Matthew Atkins’ gloriously camp shop owner Norman – and when things go wrong, everyone’s immediate response is to put the kettle on. This gives the production a very cosy, homely feel, and makes the characters and everything that happens to them incredibly relatable.

The show does get a bit dark and tense at times (gun alert) and there’s no shortage of emotion either. But overall Paper Hearts is uplifting, heartwarming and basically just a joy from start to finish. It’s got everything you could want from a West End show at a fraction of the ticket price – so see it now before it gets snapped up for a transfer. And then go again, because it’s worth it.


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… 😉

Interview: Georgie Morrell, A Poke in the Eye

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Georgie Morrell is a writer, blogger and stand-up comedian. Next week she’s bringing her show A Poke in the Eye to Brighton following a successful run in Edinburgh and a transfer to London’s Soho Theatre. “The show is about one woman, one eye and her (sort of) blind life,” Georgie explains. “Being disabled is her excuse to do exactly what she wants, say what she wants and live her one eyed life as she wants.”

That one woman is Georgie herself, who wrote the show to share her experience of living with a visual impairment. “It’s scary to share my personal story, but that’s also part of the thrill!” she says. “You don’t know how an audience might react and it’s fun to play with that. However, I keep certain parts of personal life back, I make sure there are things just I know. It makes it less scary when I know something they don’t… I have a secret. To keep the balance because it is such a personal show I don’t discuss my private life, like relationships, love life etc. Got to keep some things private.”

Georgie’s been delighted with the public’s response to the show, which also received a 4-star review from LondonTheatre1. “It’s been terrific! All sorts of kind, funny and slightly mad feedback. A lot of people who come across my work that are visually impaired get in touch and often are grateful someone’s candidly talking about disability. This means the world to me to hear and makes all the hard work more than worthwhile!”

The aim of the show, Georgie explains, is to make people laugh, but also to come away with a greater knowledge of disability. “I want those in the audience who’ve not experienced disability, physical or sensory impairments to learn it doesn’t mean you are at a loss or vulnerable or should be pitied. I want them to see the individual not just a disability.”

And for those who are adapting to life with a disability, she has another message: “Just because you’re disabled does not mean you are any less of a person. Some people, but also systems in place for those of us with a disability, have a way of making us feel vulnerable and as if we are  missing something. Not at all! We experience the world in a remarkable way that must be shared, acknowledged and appreciated.

“Never be ashamed of your disability. Just because you are disabled does not mean you can’t be yourself and live your life as you want.”

It’s certainly not stopping Georgie, who has plenty going on. “I’m a blogger for topical website The New Establishment and am taking my new show, The Morrell High Ground, to Underbelly at the Edinburgh Fringe Festival. I’m also an advocate for RNIB and International Glaucoma Association.”

As well as performing, Georgie has a couple of other goals in mind for her time in Brighton. “Going to the seaside and Sea World! And if I had to pick one show besides my own, I’d recommend Gemma Arrowsmith: Earthling at The Warren. It’s a character sketch show about the future of mankind.

“I love my show being in Brighton because it’s such a liberal, fun and mischievous town. My show is all these things but also with a gut punch. I think it will fit into Brighton’s way of thinking beautifully!”

Catch A Poke in the Eye at The Warren Studio 3 from 24th-26th May.

Review: Out There on Fried Meat Ridge Road at Trafalgar Studios

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Keith Stevenson’s Out There on Fried Meat Ridge Road became a cult hit when it opened in the States in 2012 – even spawning two equally well received sequels – and it’s not difficult to see why. Transferring from London’s White Bear Theatre to Trafalgar Studio 2 under director Harry Burton, this joyously bonkers little story about a bunch of misfits in a remote West Virginia motel is 70 all too short minutes of good-natured fun.

Mitch (Robert Moloney) has just lost his job at the local spork factory, had his car set on fire and been kicked out by his girlfriend. When he answers an ad for a roommate placed by the eccentric but loveable JD (Keith Stevenson), little does he realise things are about to get even worse. Sleazy motel landlord Flip (Michael Wade) think he’s gay, next door neighbour Marlene (Melanie Gray) thinks he’s David Schwimmer – and then there’s Tommy (Alex Ferns)…

Photo credit: Gavin Watson

It’s all barking mad, but very enjoyably so; an hour of pure escapism in which literally anything could – and does – happen. The larger than life characters prove to be a cautionary tale in the dangers of judging by appearance; they might look like stereotypes, but none of them is quite what they seem. This is particularly true for Keith Stevenson’s JD, possibly the nicest man in the world, whose imposing stature hides a gentle nature, kind heart and interesting back story. In light of said back story, it later seems fitting that it’s JD who delivers the moral of the story, which is simply this: be kind. As he himself points out, that’s not something we should need to be reminded of – yet somehow in today’s often self-obsessed world it ends up feeling like something of a revelation.

Simon Scullion’s set is cosy and lived-in, a wood-panelled motel room littered with JD’s clothes, possessions and casually discarded mini vodka bottles. The familiarity with which all the characters enter and make themselves at home helps establish the relationship between the friends; JD is the centre of the group, the one everyone comes to when they need support – and he in turn is always ready with a supply of tuna sandwiches and a few words of advice.

Stevenson’s irresistible JD has excellent support from Robert Moloney as Mitch, whose appearance grows increasingly dishevelled even as his inner turmoil settles. Alex Ferns’ poet/gangster Tommy revives the crazy-eyed menace of evil Trevor (that’s his famous Eastenders character from 15 years ago, for younger readers). Michael Wade is hilariously creepy as Flip the landlord, but even he has a protective streak where JD’s concerned. And hysterical drug addict Marlene is played to perfection by Melanie Gray, who makes her likeable and sympathetic where she could have been incredibly annoying.

Photo credit: Gavin Watson

If I have one complaint about the play, it’s that – unlike its unwieldy title – it’s too short; we can only hope the sequels soon make their way to London so we can find out what the gang get up to next. Out There On Fried Meat Ridge Road is not deep and meaningful, and is at times utterly bizarre. But it’s also fantastic entertainment that leaves you with a smile on your face and a warm fuzzy feeling inside. And a craving for tuna sandwiches. (Just me? Oh.)


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… 😉

Interview: Cath Mattos, Wandsworth Fringe 2017

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Cath Mattos is producer of the Wandsworth Fringe, which launched last week in South West London and continues until 21st May. Now in its eighth year, and four years old as a standalone festival, the Wandsworth Fringe came out of the Wandsworth Arts Festival, which originally started in response to Black History Month. “The festival is a spotlight on creativity in Wandsworth, as well as being a testing ground for new work,” explains Cath. “We moved toward a Fringe model as there was so much grass roots support and the creative companies in the area wanted to be a part of the festival in May.

“I started working on the 2014 festival for exactly this reason, to bring more knowledge and experience of Fringe Festivals and to work with the Enable LC Arts Team and the WAF steering group to help carve a model that would work for the area and its cultural economy.”

As always, the festival offers a varied programme of events and entertainment. “There is so much on offer – we’ll be shaking up South West London with an eclectic programme of arts and culture that will thrill, move and inspire audiences from across the city,” promises Cath. “We have many talented local artists and producers but also performers who are bringing their talent from around the UK, Europe, North America and beyond to entertain and bring excitement to the streets and venues across the Borough.

“The festival is emphatically inclusive and welcomes participation from artists across all art forms – including outdoor arts, theatre, music, dance, comedy and everything in between. WAF provides the opportunity and support to try something new, take creative risks, test new ideas and reach new audiences.

“As a non-curated festival, the themes that have emerged reflect the world in 2017. Identity and difference plays a large part in the line up, as do environmental and current political concerns. There is a significant amount of work being presented by inclusive arts companies about disability issues, as well as work that explores gender and feminism.

“We also try and bring the arts to people, by literally leaving our own comfort zone and going into those hard to reach places. For example, during WAF you can see quite a few performances that focus on issues of mental health or disability, and certain shows will be supported by British sign language as a way to make the festival relevant and accessible to all.”

Unsurprisingly, preparations for the festival start early, and go on for most of the year: “We start the planning for the Fringe year during the evaluation of the previous festival in June,” explains Cath. “Then we start our first networking events in September and open an expression of interest phase, which we use to encourage as many interesting and unusual artists and producers as possible to come and find out about the festival and think about taking part.

“We advise artists and emerging producers on suitable venues and potential funding avenues. WAF has a dedicated grants funding scheme and we advise artists with their applications to this. It’s an open access festival, so anyone can register to take part as long as they have a venue sorted. Once all the artists are registered we then put a brochure together and the listings on our website, and start to sell tickets to the shows and promote the free events.

“We aim to make the festival as accessible as possible to both artists and audiences by having affordable options and many free events.”

So what are some of the many highlights to look forward to at the Wandsworth Fringe 2017? “Fragility Takeover The Arches at St. Mary’s Church under Putney Bridge and The Cat’s Back Pub in Wandsworth Town, and are hosting some cutting edge theatre and quirky Edinburgh previews,” suggests Cath.

“There’s also Super Hamlet 64: Parody DLC – armed with an ocarina, a ukulele and a thirst for revenge, Lecoq-trained Edward Day battles four decades of video game nostalgia, in an explosion of Shakespeare, live music, video projection and 16 bit mayhem. Odjo – King of the Ocean is a new show from The Comedy Cats, about a reporter who spent three months living at sea with an idiot fisherman named Odjo, witnessing bizarre martial arts practices, unruly animal impressions and unhealthy absurdities that reduced him to tears of laughter.

“Hidden Heathbrook is a weekend of outdoor arts in Heathbrook Park; we have leading large scale puppet makers Puppets With Guts, orchestrating the largest giant rampaging rhinoceros stampede in South London, and Hikapee’s brand new show Home weaves together slapstick comedy with breathtaking aerial acrobatics, to create a ‘house’ for you to explore. This weekend is one not to miss!

“And An Elemental Cycle of Life and Death in Four Acts is an intense and intimate experience encircling art, theatre, ritual and shamanic story weaving of the Fabulous and the Magickal, and of all that lies Betwixt and Between. The Transience create doorways to worlds which may or may not exist and are inviting you into an initiation where you are likely to lose or find yourself, for there is never any telling which. Sssh, secret locations!”