Archive for November, 2014

Christmas**** (White Bear Theatre)

Posted: November 29, 2014 in Theatre

Christmas_Poster_PressSmallThis review was originally written for The Public Reviews:

A natural symmetry occurs when a pub theatre puts on a show about a pub. Simon Stephens’ 10-year old play was first performed above the bar of the old Bush and this revival appears at the back of the White Bear, which would now mirror the front bar were it not that, in the theatre area, it is 2004 and antiquated objects known as cigarettes can be found. If you buy tickets for this production, you need to be prepared for a lot of passive smoking. The actors may speak a little louder, but we always get the sense that the characters and the conversations in the adjacent rooms are a broadly accurate reflection of each other. This early work by Stephens, who has progressed to become one of our foremost playwrights, is rich with sharp insight and natural dialogue, embellished with abundant ripe language. The conversations in the fictional bar may begin as banal and humorous, but Stephens skilfully peels away the outer layers of each of his characters to reveal the poignant truth. The shabby East End bar is decorated with makeshift Christmas lights, an advent calendar and a photograph of Frank Sinatra hang on the wall. Michael, its owner, knows that any boost to takings that the Festive Season may bring will not be enough to clear his mounting debts. He is alienated from his son, facing an uncertain and lonely future and William Ely, looking world weary and near to defeat, captures perfectly his frustration and barely suppressed anger. Billy arrives at the bar to escape his pot-smoking mother and drown thoughts of his beloved West Ham United, who have just suffered another defeat. He is slow-witted and volatile, but aware enough of his own problems and limitations, drawing back from the confrontations that his outward aggression inevitably bring. Ralph Aiken inhabiting the character with fierce intensity, makes Billy a dominant presence throughout the play. Lionel Guyett, slight and looking frail, is Zeppo, an elderly Italian widower who still works as a hairdresser. Drinking may contravene doctors’ advice, but he still orders glasses of Drambuie, only to line them up neatly on a table. He has a strong sense of belonging to a place and of tradition, so, as close as possible, he is continuing his rituals. Like many others, he goes regularly to the same bar, takes part in much the same conversations and observes a religious festival that no longer has any real meaning. Charlie (James Groom) is an interloper who is looked upon with suspicion. A northerner who has given up a career as a musician to become a postman, he carries a cello case which may or may not contain a cello. He provokes confrontations which appear almost like initiation tests, necessary before he can gain acceptance. All of these characters have problems which they may not be able to resolve, but at least the oasis of Christmas is in view and they can put them on hold until it is past. Michael Kingsbury’s carefully measured production is brought to vivid life by this quartet of outstanding performances. Stephens seems to sense that he is writing about a dying world in which many pubs like the one in his play are disappearing. However, others are surviving by branching out into theatre, the response to which has to be “drinks all round”.

Performance date: 28 November 2014

thepublicreview_hor_web copy

Silent Planet***+ (Finborough Theatre)

Posted: November 29, 2014 in Theatre

silent-planet-mainThis review was originally written for The Public Reviews:

In the days of the totalitarian Communist regime in the Soviet Union, freedom of expression through literature was stamped out, with works being banned and writers such as Alexandr Solzhenitsyn being imprisoned. Eve Leigh sets her play in 1978 when a dissident writer, known simply as Gavriil, is being held in a psychiatric hospital and subjected to treatment (rather interrogation) by a doctor, Yurchak. The story is fictional, but inspired by real incidents. Because they are regarded as already corrupted, patients at this hospital have access to “deviant” books in their library, but doctors, who are still functioning members of society, are denied such access. When Gavriil begins to tell Yurchak stories from the banned books, his doctor’s interest is aroused and their sessions together turn into discussions of novels, poetry and plays. Tom Mansfield achieves an edgy, claustrophobic feel by staging his production on a small elevated platform, furnished with just two chairs and a table. The play, a two-hander until near the end, explores the power of literature to overcome tyranny. It sees written words as beacons that can illuminate even the darkest hours of oppression, give meaning to existence and lift the human spirit. Gavriil is Ukrainian, not from the same country of the USSR as Yurchak and Leigh specifies that he should speak with a strong accent so as to emphasise this. Accordingly, Graeme McKnight’s Gavriil is Scottish, a rebellious street fighter who could have come from an old style Glasgow tenement block. He readily challenges his interrogator’s uncertain grip on authority and, in Matthew Thomas’s performance, we see both Yurchak’s discomfort in his role and his excited curiosity on tasting the forbidden fruits of the patients’ library. Much of the play’s dramatic tension arises from the ambivalence of the relationship between the two protagonists, leaving us unsure as to which of them really has the upper hand at different points and whether their intellectual discourse has sexual undertones. Silent Planet is a relentlessly bleak play and, even at only 70 minutes long, it is sometimes hard going. However, intelligent writing and two outstanding performances ultimately carry it through.

Performance date: 27 November 2014

thepublicreview_hor_web copy

Accolade**** (St James Theatre)

Posted: November 29, 2014 in Theatre

accoladeAt first sight, this production of Emlyn Williams’ rarely performed play from 1950 evokes the feeling of having entered a time warp. Tacky, painted scenery and stilted over-acting suggest a rebirth of weekly rep, a form of theatre which died out more than half a century ago. It takes time to adjust and come to realise that everything in Blanche McIntyre’s production is intended – it is important to be able to place this play in its exact time in order to fully understand its significance and to appreciate how relevant it is to the present day. It is true that the production’s dated style sometimes results in giggles in the wrong places, but, more often, it leads to scenes that are deeply moving. Will Trenting is a newly-knighted novelist, already a Nobel Laureate, known for his risqué works, but it is not publicly known that his writing draws from his own experiences in mingling with people a class or two below him and indulging in what, in 1950, would have been morally unacceptable practices. He offers no excuse that he is researching, rather he insists that his twilight jaunts spring from his personal inclinations which came first, the writing having followed. The point is that, in common with many great writers, he has broken out of the straightjacket of what society considers to be proper, and thereby fuelled his ability to create great works. It is a Jekyll and Hyde existence, but none of it is secret from his wife Rona who condones and supports him in everything. As Will, Alexander Hanson achieves the perfect combination of boyish naiveté and adult sophistication, whilst Abigail Cruttenden makes Rona entirely sympathetic and the rock of a surprisingly solid marriage. Performances are strong in all the the supporting roles, with Bruce Alexander being particularly striking as an embittered blackmailer. Williams is promoting a message very similar to that given by Noel Coward in the earlier Design for Living, which is that society has no right to impose moral codes and that it is no-one’s business how other adults lead their lives, so long as they cause no harm to others; unfortunately, Will inadvertently crosses a line, which is where relevance to celebrity scandals in 2014 arises. However, Rona (and indeed Williams) continue to support him. Elements of this would still shock many today, but, as the programme notes, it is astonishing that such a daring play got past the Lord Chamberlain in 1950. Perhaps he simply did not understand it.

Performance date: 27 November 2014


Having avoided stand-up comedy at this year’s Edinburgh Fringe Festival, it seemed like a good idea to get a taste of what I’d missed. And a good idea it proved to be. There is nothing fancy about this 1-hour routine – Sara (without the “h”) Pascoe just stands centre stage and chats. This is not the caustic in-your-face female comedy associated with the late Joan Rivers nor does it have the political agenda of the strident feminists. Pascoe does little more than make wry observations about the absurdities of modern life, but her presentation is relaxed and seamless. Most importantly, she is very funny., making this an hour well spent.

Performance date: 26 November 20

Wildefire*** (Hampstead Theatre)

Posted: November 26, 2014 in Theatre

wildefireBoth houses at Hampstead are currently occupied by dramas about the Metropolitan Police. Downstairs, State Red examines the repercussions of institutionalised racism, but Roy Williams’ play shows us a multi-race force that treats women officers on an equal basis with men and, in so doing, he  wisely jettisons the themes of both racism and sexism so that he can focus singularly on the challenges of policing a modern urban community and the corrosive effects upon those charged with carrying out these duties. The play begins with a recitation of the Met’s original charter, making it immediately obvious how far things have moved from what now seems a very naive starting point. WPC Gail Wilde (Lorraine Stanley giving a real powerhouse performance) transfers from Horsham to a deprived London borough, believing that traditional policing methods will be the key to her making a difference in dealing with the area’s problems, chiefly gang crime and domestic violence. The play then charts her journey from wide-eyed optimism to drugged-up disillusionment and despair. This is strong stuff, served well by Williams’ unflinchingly realistic dialogue. However, problems arise when the writing and Maria Aberg’s production fail to match up. Essentially, this is an intimate work, charting one woman’s transformation, but Aberg chooses to enact it on an epic scale. Naomi Dawson’s set of elevated platforms and scaffolding does not seem to represent very much, whilst a couple of scenes with rampaging yobs are not enough to justify this theatre’s cavernous space being left wide open, thus detracting from the real drama and also playing havoc with the acoustics. Solid supporting performances help to drive what remains an interesting and important play, notwithstanding the flaws in the production.

Performance date: 26 November 2014

state redWith the London riots of 2011 still fresh in the mind and more recent events in St Louis and Cleveland hitting our headlines, Atiha Sen Gupta’s new play could hardly be more topical in asking the question why the victims of police shootings always seem to be black. Gupta sets her play when Luke (Samuel Anderson) is stricken with guilt having shot a black teenager a year earlier when attending a crime scene with his fellow officer Matthew (Toby Wharton). Luke is the son of the inter-racial marriage of Richard (Geoff Leesley), a pillar of the police establishment, and Joyce (Maxine Finch). This is an issues driven play in which the characters, who are little more than mouthpieces for the writer’s arguments and counter arguments, never really connect in an emotional sense either with each other or with the audience. Gupta goes out of her way (perhaps too far) to demonstrate that the lines between right and wrong are blurred; the mixed race officer who pulled the trigger is from a privileged middle class background, whilst his white colleague grew up in poverty in Tottenham; the senior police officer whose career could be ended if the truth about institutional racism is exposed, could in fact drive for reform if allowed to continue in his job. Yes, it is all just a little bit too contrived and some of Gupta’s arguments lose clarity and potency for that reason, but the four actors perform it with conviction under the taut direction of Douglas Rintoul and it adds up to a gripping 70 minutes.

Performance date: 24 November 2014


Posted: November 5, 2014 in Travel

Friday 7 November

Having arrived in Delhi just after midday, yesterday afternoon was one of rest and recovery. Starting at 8.00 this morning, we embarked on a 10+ hour sightseeing tour of the cities old an new – a sprawling, smoggy, dusty urban mass with construction of new buildings and a metro system going on everywhere. There are traffic rules, which seem to be there to be ignored – traffic drives on the left and often the right, green lights mean go and red lights mean go with just a little more caution. It is great fun watching the mayhem from the comfort of an air-conditioned coach, as vehicles of all shapes, sizes, ages and states of repair do battle with each other. New Delhi, designed by Sir Edwin Lutyens in the era of George V, could have been the prototype for Milton Keynes, with roundabouts every few yards, but everywhere else is slow-moving chaos. As for the sights, it was a day of shoes on and off as we visited three places of worship. The Moslems charged 300 Rupees to take a camera near their mosque, so no photos of that, but it was a farly ugly building anyway. The Sikh temple was an eye-opener; we visited the kitchens where they prepare 20,000 meals a day to serve to the needy of all faiths. I have been to palaces or religion all over Europe and South America that are filled with precious metals and priceless works of art, so how cheering it is to find a religion that actually does something positive to alleviate poverty instead of just talking about it. Finally, it was the turn of the Baha’i temple, architecturally the most impressive, looking like a lotus flower, or, perhaps, a squashed up version of Sydney Opera House. We also visited the memorial to Mahatma Gandhi (sighted on the place of his cremation), the memorial to India’s war dead (rather predictably, a large arch) and, in fading light, the tomb of Humayun, a 15th Century ruler.FullSizeRender-5FullSizeRender-3FullSizeRender-4FullSizeRender-6
















Saturday 8 November

Days spent hanging around airports are the worst of any touring holiday, but this was the worst of the worst! Firstly the tour manager hauled us off to Delhi airport an hour early, forgetting that it was a Saturday and that there would be little traffic. Once there, we were told of a 3 hour delay due to the plane having broken down; we joked that it would be an ancient propeller plane and it turned out to be exactly that (although I have since been informed that the Q400 is one of the best and most modern planes in the air). SpiceJet appears to be the Indian equivalent of Ryanair, charging for everything, but they kindly agreed to compensate us by waiving the charge for a sandwich. Having arrived in Udaipur, the Hotel Devi Garh, a former palace is truly fabulous. It would have been nice to have been able to spend the afternoon on the terrace in front of my room.FullSizeRender-7









Sunday 9 November

A mere 8 hours of sightseeing today and a lot of climbing up and down steep stairs. Udaipur is known as “the city of lakes” and it often reminds of being beside one of the Italian lakes, with similar Summer temperatures and a heat haze settled over surrounding mountains. The Maharana still lives in a part of his palace, but the rest is now a museum, filled with interesting curiosities and remnants of glorious days. Udaipur has at least three hotels even more luxurious (and expensive) than ours; one of these, on sn island in the lake provided the setting for a scene in the James Bond film Octopussy. A more sedate afternoon saw us taking a boat trip around the lake.






























Monday 10 November

A 10 hour drive (with breaks) from Udaipur to our base for Jodhpur, taking in some spectacular views and fascinating insights into Indian rural life. Whatever the roads, main trunk routes, narrow country lanes or the main streets of towns or villages, they have to be shared with cows, water buffalo and oxen roaming free and the standard of driving is breathtakingly bad. This drive began in lush greenery and ended in near-desert, passing through a mountainous game reserve where baboons can be seen everywhere and (apparently) leopards lurk unseen. We did not get out to take photos. It often felt as if we were intruders into an ancient way of life and, although there are plentiful signs of the modern world, the Rajasthan described by Paul Scott is still there to be experienced. We stopped at the ruins of a Hindu temple with magnificent carvings in sandstone, we saw an irrigation system powered by two oxen and ended the morning with a visit to a Jain temple. This had quite impressive architecture, but, due to a camera levy, no photos. This sect does not allow killing of any animal or plant, meaning that we were not allowed to take any leather items in with us, including wallets; so, when pestered for the usual tourist rip-offs, the truthful response was “no money”. They have a rather flawed business model! The final stop was at a makeshift Hindu temple dedicated to a local drunk who was killed when his motor bike hit an adjacent tree in 1989, giving rise to some supernatural events. The hotel Rohet Garh is a splendidly converted 16th Century palace.





























Tuesday 11 November

A day for exploring Jodhpur, a city of many buildings painted light blue (something to do with repelling insects) which make a curious sight when viewed from the highest point, the very top of the spectacular Mehrangarh Fort. After looking around the Jaswant Thada, a temple on an opposite hill, a lift took us to the Fort’s higher levels, arriving there at 11.00 exactly. The whole group then observed two minutes’ silence in an unforgettable setting, some being moved to tears. After more than an hour walking around the museum, we made our descent by foot. During the afternoon, we took a jeep safari to the outskirts of Jodhpur and beyond on bumpy dirt roads; it is doubtful if the jeeps, each seating four passengers, would have complied with UK Health & Safety standards, but all survived. The “safari” gave a wonderful opportunity to escape from tourist destinations and get a feel of the real India; we visited a family pottery-making business (the father demonstrating amazing skills as a potter) and a small farm where I succumbed to wearing a turban made up from 10 metres of cloth.FullSizeRender-22 FullSizeRender-23 FullSizeRender-24 FullSizeRender-25 FullSizeRender-26 FullSizeRender-27 FullSizeRender-28 FullSizeRender-29



































Wednesday 12 November

A long drive through the arid Thar desert from Jodhpur to Jaisalmer, close to the Pakistan border. Still more of a worry, the road went through the area used by India for its nuclear tests; we saw lots of camels, but none with two heads. The hotel Suryagarh is in the style of an ancient palace, but it is 21st Century, with all mod cons and everything seems to work. The public areas of the hotel are fabulous and the rooms are luxurious, but lacking character. The hotel is also home to several peacocks and to Alexander the Great, a beautiful Golden Retriever.










Thursday 13 November

Jaisalmer is known as the “Golden City” because of the colour of the sandstone used in the construction of most of its buildings, including the imposing hilltop fort. This is not a fort in the military sense, but a fortified town that is home to tens of thousands of people. This gave us the chance to experience Indian street life on foot as we climbed to the top through narrow, cobbled streets, crowded with pedestrians, motor cyclists, cattle and dogs. The only notable sight at the top was another Jain temple with intricate carvings, but it was the bustle, the vibrant colours and the cacophony of noise created by the street traders and the motor bike horns that made the climb worthwhile. Upon the descent, we saw streets of opulent mansions built from sandstone and displaying more elaborate carvings. Late in the afternoon, we went out into the desert to see the sunset across sand dunes; some more daring than I rode camels, the rest went in carts pulled by camels, mine by a noble beast named Rocket.FullSizeRender-31 FullSizeRender-32 FullSizeRender-33 FullSizeRender-34 FullSizeRender-35 FullSizeRender-36 FullSizeRender-37 FullSizeRender-38 FullSizeRender-39 FullSizeRender-40





































Friday 14 November

A quiet day with another long drive through the Indian countryside and villages, marvelling at how different life is here from what we are used to in England. The only stop of interest was two small lakes which are the Winter home if a flock of birds migrating from Siberia. No-one seemed sure about the exact species*, but we settled for some kind of crane. Our base for Bikener is the Gajner Palace, a former hunting lodge of the Maharajahs, set beside a large lake.FullSizeRender-41 DSC00135 DSC00140















* I have now been informed that the birds are Demoiselle Cranes and that this is a very famous spot amongst ornithologists.

Saturday 15 November

A sedate morning walk around Bikaner fort gave few clues as to what was to follow. This fort is less imposing from the exterior than others visited , but the interior is full of interest, with the best museum seen so far. This was followed by an introduction to the tuk tuk, India’s 2-seater taxi which is like a small open car built around a motor bike engine. This would have been a hair-raising experience on a quiet private road, but, driving through an Indian city in such a vehicle almost defies description. When the driver wanted the third exit off a large roundabout, he simply cut off to the right in the face of on-coming traffic; something to be tried on Hyde Park Corner! From there, it was through the narrow bustling streets of the city, dodging between other vehicles, market stalls, shoppers and a variety of beasts, alive or dead. This was India for real, not a show staged for the tourists. After surviving that, a quiet afternoon at the lake beside the hotel was exactly what was needed.DSC00149 DSC00151 DSC00156 DSC00160 DSC00169 DSC00172 DSC00174 DSC00177 FullSizeRender-42 DSC00178







































Sunday 16 November

A drive back into fertile territory towards Jaipur. There are more signs of prosperity, but, although the roads are better, the driving standards are not. Along the way, there seem to be as many buildings under construction or demolition as are standing and functional. Our only stop was to view a hideous temple that might look more at home in Orlando than here, but our guide seemed to think it very important and rambled on for more than half an hour about it. At first glance, the Hotel Samode Bagh, which is set in expansive gardens once used as a retreat by Indian aristocracy, looks like a camp site. So a first try at “glamping” seemed likely, but the rooms under the canvas covers are, in fact, built of substances more solid.DSC00195 DSC00196 FullSizeRender-43 FullSizeRender-44

















Monday 17 November

The Amber Fort is by far the most magnificent seen so far, its walls stretching over the tops of hills into the distance and making it look like a section of the Great Wall of China. It derives its name from being located in the Amer region of the city of Jaipur rather than from its colour. Jaipur more generally is known as “the Pink City”, due to many of its buildings being painted in that colour to celebrate a visit by the Prince of Wales (later King Edward VII). It took a jeep ride to get us up to the Fort’s lowest level, a large courtyard with a dozen or more elephants giving rides around the perimeter. From there, we climbed up to explore all accessible areas and gasp at the breathtaking views. After descending, we went to take a look at the Water Palace, but only from a distance as it stands in the middle of a lake. We moved onto the Royal Palace which has excellent museums devoted to portraits, armament and textiles, and an outdoor observatory which includes a sun dial, listed in the Guinness Book of Records as the largest in the World and accurate to within two seconds. The large stone-built instruments in the observatory serve a range astrological and astronomical functions, all, we were told, ahead of the time when they were constructed.FullSizeRender-45 FullSizeRender-46 DSC00206 FullSizeRender-47 FullSizeRender-48 FullSizeRender-49 DSC00221 FullSizeRender-50 FullSizeRender-51 DSC00226









































Tuesday 18 November

The drive from Jaipur to Agra included two fascinating sightseeing stops. Firstly, we visited the step well at Abeneri. This is a huge hole in the ground with steps on all sides which princes of the age descended to cool themselves and bathe; it was built more than 1,200 years ago and is still in excellent condition, making a spectacular sight, but (fortunately) visitors are no longer allowed to descend. The second stop was at the ruined city of Fatephur Sikri, a UNESCO World Heritage sight on the outskirts of Agra.

DSC00230 DSC00231 FullSizeRender-52 DSC00243 FullSizeRender-53





















Wednesday 19 November

A 5am wake-up call and then the short trip from the hotel to see the Taj Mahal at sunrise. At first sight, the Taj was shrouded in mist/smog, but, as the sun became stronger, the white marble structure could be seen clearly and the position of the sun meant that it was shining most strongly on the front. The early morning was quite cold (hence the jumper in the earlier photos). The building is enormous and every bit as breathtaking as imagined. Visitors are allowed inside to see the two tombs, but it is the intricate artwork on the exterior which is more impressive; no paint was used, just precious or semi-precious gemstones. In the afternoon, we did a tour of Agra, starting with the “Baby Taj” which is nowhere near as remarkable, but still has elaborate designs on the stone. On the way to the Moon Garden, we stopped to see an Indian “laundry” on the banks of the river, with washing being laid out on sand to dry; not the sheets from our hotel, we hoped! The Moon Garden is a serene, green park, lying directly across the river from the Taj Mahal. The final port of call was Agra Fort, to which the public is only allowed limited access due to it continuing to be used by the Indian military. Despite suffering from fort fatigue by now, this one is sufficiently different to hold the interest and it offers a distant view of the Taj Mahal.

FullSizeRender-54 FullSizeRender-55 FullSizeRender-56 FullSizeRender-57 FullSizeRender-58 FullSizeRender-59 FullSizeRender-64 FullSizeRender-60 FullSizeRender-61 FullSizeRender-62 DSC00280 FullSizeRender-63 DSC00292 DSC00296 FullSizeRender-65

Here_Lies_Love_poster_notitleHaving the audacity to turn the hallowed ground that was the Cottesloe into a 1970s-style discotheque, the National has launched its re-named smallest theatre with a spectacular sung-through take on Philippine politics. Well, Argentina has already been covered, so why not? The only major difference between Evita and Imelda Marcos, this show’s subject, is that the former had the good fortune to die young and remain worshipped by her people, whilst the latter lived on in exile, widely loathed. Beginning life as a poor country girl, we see Imelda win a beauty contest and marry Ferdinand Marcos, a rising star of politics who wins the Philippine Presidency on a platform of reform. Accepting her husband’s infidelity, she becomes feted by World leaders and royalty and, when he becomes ill, she effectively takes over control of the country. The show depicts her as becoming a pill-popping, glamour-seeking fashion icon, but, surprisingly, overlooks her fondness for hoarding shoes. As Imelda, Natalie Mendoza handles all the transitions impressively, leading a high energy all singing, all dancing company of 22. The music and lyrics by David Byrne and Fatboy Slim, all in the disco style and mostly up-tempo, fit the occasion well and drive the story, but only the title song lingers in the head afterwards and that could be because it is reprised at the end. If performed in a conventional theatre, this might not be much of a show at all, but it is elevated by a brilliant, technically elaborate and highly original production. Some of the audience is seated on balconies, but most of us are standing on the dance floor, which has a stage at both ends and moveable stages between them. We are ushered around, encouraged to clap and dance (a little), mingling with the performers, shaking the hands of election candidates and forming part of the crowd that forces the peaceful 1986 revolution. Colourful and vibrant, this is a great fun evening.

Performance date: 4 November 2014

johnConceived and directed by Lloyd Newson for his DV8 Physical Theatre Company, this fusion of spoken word and modern dance creates a truly extraordinary experience. The words are taken verbatim from interviews with real life characters and the dance interprets individual  emotions and the connections between two or more characters. Sometimes smooth flowing, sometimes jerky and edgy, the movement that we see on stage merges seamlessly with the stories that we are being told. Much credit for making this work so effectively must go to Anna Fleischle’s wonderful, adaptable set, which revolves (sometimes constantly) to reveal expansive areas, small rooms, narrow corridors and darkened corners, the flow of the set often heightening the dramatic impact of the movement by the performers. The show runs for 75 minutes without an interval, but it has two very distinct sections: the first is based on interviews with John (performed by Andi Xhuma), telling of his life as part of the social underclass from childhood to early middle age – a life of social housing, state benefits, drug and alcohol abuse, crime, imprisonment, countless women, irresponsible parenthood and many bereavements, but also of success in the form of a University degree gained with honours. For the second section, the primary interviewees are the two owners of a gay sauna who tell, sometimes with considerable humour, of the day-to-day running of their business and of their clients, who include John. Both of the sections work equally well, but they are completely different in tone and content, making it feel for a time that they do not gel with each other; however, when they eventually come together, the emotional impact is shattering. This show is vivid, raw, brutal, life-affirming and totally unique,

Performance date: 3 November 2014

Girlfriends*** (Union Theatre)

Posted: November 1, 2014 in Theatre

girlfriendsThis review was originally written for The Public Reviews:

Howard Goodall’s musical first hit the West End in October 1987 with an opening night that coincided with the great hurricane, but it has not kicked up much of a storm since. However, this is the second London revival at a fringe venue in just over three years, perhaps indicating that it is much more suited to small productions than to the big stage. Set in Britain during the early stages of World War II, the show centres on a group of young women from all social backgrounds and all regions of the country who join up to the WAAFs to play their part in the war effort only to find themselves folding parachutes, making tea for their male counterparts in the RAF and waiting anxiously for planes to return safely from their missions. Much of this follows a familiar path, to be exact Terence Rattigan’s Fare Path of which it sometimes feels a pale imitation, but the writers spice things up with a love triangle involving two best friends (Corrine Priest and Perry Lambert, both giving endearing performances) and a bomber pilot (Tom Sterling). Surprisingly in view of the involvement of Richard Curtis with the original book from which Goodall’s current version has evolved, there is very little humour either in the script or the lyrics and it is not for lack of opportunities. When two male officers sing No! in reference to a WAAF’s refusal to to surrender her virtue, we wonder what Sondheim might have made of it, yet the song raises not so much as a smile here. However, there is sincerity in abundance and only very occasionally do the book and Goodall’s lyrics sound trite as they delve into the futility of war and its cost. Catriana Sandison gives a particularly strong dramatic performance as a grieving woman who is veering towards pacifism and desertion. The score is full of simply structured melodies that are instantly catchy, but lacking in variety and unlikely to prove memorable. Sterling’s powerful voice stands out amongst solo singing performances that are somewhat patchy. However, Goodall’s music is suited perfectly to female chorus numbers, of which there are several, including rousing finales to both acts. It is worth the price of a ticket just to hear the harmonies created by the ten ladies in this company. Bronagh Lagan’s production takes place on a blackened stage and is seen frequently either in half light or in the dark with spotlights on individual performers. This robs the show of any sense of time or place and also casts a gloom which makes it more difficult to seek out humour. Choreography by Iona Holland, although limited, works well and the five piece band, under the direction of Freddie Tapner provides an ideal accompaniment for the singers. With musicals flourishing in fringe theatre, Girlfriends is the sort of small scale show that could be up for more regular revivals and, indeed, it provides a very pleasant way of spending a couple of hours or so. In this production, it is the lovely sound of the female chorus that keeps ringing in the ears long after the final bows have been taken.

Performance date: 31 October 2014

thepublicreview_hor_web copy