Review: Oopsy Daisy at Katzpace

A dark comedy about sex, power and friendship, Oopsy Daisy is the story of two strangers brought together first by coincidence (and too much rosé), and later by an impulsive decision that will change both their lives.

Jo (Holly McFarlane) is a well-known actor and celebrity who finds herself, to her consternation, sharing an Uber Pool one night with Jamie (Rory Fairbairn). He’s also an actor, but a far less established one, and he can’t believe his luck when Jo announces she’s going to get him a role in her latest film. But her loneliness and his ambition prove a dangerous combination, and what seems in the moment to be a fun, naughty idea backfires spectacularly. Can they save their careers and their friendship – or has one bad decision cost them everything?

Photo credit: Maria Shehata

Written by Holly McFarlane and directed by Mat Betteridge, Oopsy Daisy is a witty and very current piece of new writing that nonetheless packs quite a punch when it needs to. The play explores – though not unsympathetically – the things that successful people might be willing to do to stay on top, even at the expense of those they claim to call friends. It also exposes the less glamorous side of fame; Jo may be a success in a lot of ways that matter to other people, but that doesn’t necessarily mean she’s any happier than Jamie. Stuck in a soulless hotel room, isolated from her friends and husband and living out of a suitcase, we can’t blame her for seeking a bit of excitement – even if her later actions prove more difficult to forgive.

The on-stage relationship between Holly McFarlane and Rory Fairbairn is perfectly executed and totally convincing, both in moments of humour and of tension. Both characters have depth to them – it would have been easy to paint Jamie as a hapless victim of Jo’s whims and manipulation, but instead the fallout from the incident presents an opportunity for him to reveal a much darker side, and for the balance of power between them to shift dramatically in the second half of the play.

With references to the likes of Game of Thrones, James McAvoy and – of course – Uber Pool, and less direct nods also to #metoo and the power of the press to make and break careers, from the start Oopsy Daisy feels very current. The fateful decision at the heart of the plot may be inspired by a rumour about a 40-year-old movie, but the themes of the play are very much of 2019 – or perhaps it’s just that when it comes to the pitfalls of fame, not much has changed in the last few decades. Either way, this is a funny, fast-paced play featuring two excellent performances; hopefully this short run at Katzpace won’t be the last we see of it.

Oopsy Daisy is at Katzpace until 20th November.

Review: Stuffed at the Brockley Jack Studio Theatre

I can’t pretend to know what Kim and Jack, the couple undergoing IVF in Lucy Joy Russell and Holly McFarlane’s play Stuffed, are going through. Having said that, as a childless woman in my 30s (who recently had a heated discussion with a male friend after he made the mistake of saying, in genuine bewilderment, “But don’t all women want kids?”) there are moments in the play that I can relate to a little bit too well.

Red Squash Theatre were most recently seen at the Hen and Chickens in their extremely daft Shakespearean comedy, Macbeeth. Stuffed is quite a different project and given the topic it unsurprisingly feels much more grounded in reality, but it retains a little of Macbeeth‘s delightfully surreal humour – largely in its portrayal of healthcare professionals, for some reason.

Photo credit: Robbie Ewing

These moments aside, it’s actually quite a sad story, about a couple whose desperate need for a baby has taken over their lives to the obliteration of everything and everyone else, and to the point where even they can’t remember why they wanted to be parents in the first place. Every time the IVF fails, they have to deal not only with their own disappointment but also that of friends and acquaintances, whose well-meaning attempts to be helpful and comforting just end up making things ten times worse.

Faye Maughan and Ben Scheck are likeable and convincing as Kim and Jack, but it’s the scenes where their facade of brittle optimism slips and we glimpse the turmoil beneath that they really come into their own. Maughan in particular has a lost, fragile and exhausted look; this is most evident during scene changes, when she lingers aimlessly on stage while the other cast members rearrange the furniture around her.

Also excellent are Dorothy Cotter, as Kim and Jack’s old uni friend Grace, now a mother of three, and Alexander Tol as her husband Colin, a lovable geek with a heart of gold. It’s interesting and refreshing to see that it’s Grace, not Kim, who’s most excited about reigniting their friendship, and a welcome reminder that having children – no matter how much you love them – doesn’t make your life magically complete. Co-writer Holly McFarlane plays a number of roles but particularly stands out as Kim’s mum Frances, the one character who always seems to know exactly the right thing to say. Finally, director Rory Fairbairn completes the cast with a brief, humorous appearance as another friend’s teenage son.

Photo credit: Robbie Ewing

From my own experience I can confirm that this heartwarming and poignant comedy – based on co-writer Lucy Joy Russell’s own experience of IVF – will have women of a certain age nodding in agreement (while also enjoying an excellent soundtrack of 90s tunes from Oasis, Alanis Morissette, Meredith Brooks and more). But as the play shows us only too well, the pressure and desire to have a baby isn’t something that only affects women; Jack’s pain is just as real as Kim’s, yet he often goes unnoticed as everyone falls over themselves to offer his wife sympathy and encouragement. And through Grace and Colin we see the story from the other side – the discomfort of never knowing the right thing to say, but also the sadness of seeing a friend so consumed by the idea of parenthood that they begin to slip away from us. Well acted and a bit of a tearjerker, this little gem of a play 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… 😉

Review: Macbeeth at The Hen and Chickens

Red Squash Theatre’s Macbeeth is, as the title suggests, Macbeth – just not quite as we know it. In keeping (for the most part) with Shakespeare’s intended plot, the play is still as murdery as ever; the difference is in this version there are a lot more laughs, along with a distinctly North American sounding Macbeth, a very questionable beard, and a man called Derek. Oh, and there are just three actors playing – well, everyone.

Photo credit: Robbie Ewing

As you might expect, it’s all extremely silly (in fact, a voiceover before the show warns us of “interpretations of Shakespeare some audience members may find infantile”) and more than a little chaotic – but before any Shakespeare scholars runs for the hills in horror, a word of reassurance: the three actors all clearly not only know what they’re doing, but do it very well. Though heavily edited to fit the whole story into just an hour, all the essentials of the script are there and delivered flawlessly by Rory Fairbairn (who plays all the witches, Duncan and Macduff among a multitude of roles), Holly McFarlane (Banquo, Lady Macbeth, Malcolm and more) and Alexander Tol (Macbeth, Fleance and others). It might be Shakespeare lite, but it’s very much still Shakespeare; the comedy aspect comes not from changing the story but from taking to extremes what’s already there.

This includes the characters – Holly McFarlane and Alexander Tol as the Macbeths in particular take their roles of bossy wife and cowed husband extremely seriously, and Rory Fairbairn’s kindly but blissfully oblivious King Duncan is also a hit – as well as the story itself, which is, after all, essentially one long killing spree based on the word of three strange women in the woods. But the majority of the humour springs from the production itself, which plays throughout on the multi-roling of actors, and the rudimentary set and props they have to work with (the appearance of dead Banquo at Macbeth’s feast is particularly creative). There are also a few jokes at the expense of the actors, which, Macbeth’s accent aside, aren’t really borne out in their very able performances – but this is a small quibble and certainly doesn’t mar the play’s unstoppable entertainment value.

Photo credit: Robbie Ewing

If you’ve ever felt Shakespeare was a bit heavy, Macbeeth may well change your mind. While it undoubtedly includes some elements the play’s writer might have regarded with some suspicion (hello, magic eight ball) its heart is in the right place and the production still delivers on its promise of “95% actual Shakespeare”. Most importantly, it’s also great fun, bringing us organised chaos that doesn’t outstay its welcome and allowing its cast to showcase their talents for both comedy and tragedy. Highly recommended for an enjoyably silly night out.

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… 😉