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2017 Theatre Round-up

Posted: December 30, 2017 in Theatre, Uncategorized

2017 has been a vintage year for new plays and spectacular revivals in London. Jez Butterworth delivered a possible masterpiece and James Graham turned prolific with three plays in the West End and another on the way. New musicals were thinner on the ground until very late in the year. The Almeida in Islington continued to showcase challenging work of the highest standard and the National Theatre’s phenomenal run of hit after hit was marred by just two turkeys.

In listing personal favourites, I have considered only shows that opened in 2017 which I saw in 2017. The three most notable omissions are Everybody’s Talking About JamieNetwork and Hamilton, all of which I shall be seeing early in the New Year, so roll on 2018!


1. The Ferryman (Royal Court/Gielgud) No exaggeration, Jez Butterworth’s heady cocktail of tragedy, comedy, suspense and romance looks like the early front runner for play of the century.

2. Follies (National Theatre, Olivier) Sondheim on the grandest scale. We may never see its like again.

3. Angels in America (National Theatre, Lyttelton) Drama on the grandest scale (almost 8 hours of it) and unforgettable.

4. Ink (Almeida/Duke of York’s) Topping an incredible year for James Graham, this sets the bar for  fact based theatre at a new high.

5. Hamlet (Almeida/Harold Pinter) Robert Icke’s modern day Hamlet, with Andrew Scott in the title role, is at least as good as any I’ve seen and I’ve seen (far too) many.

6. Lady Day at Emerson’s Bar and Grill (Wyndham’s) Devastating vision of a star burning herself out.

7. Mosquitos (National Theatre, Dorfman) The Olivias Coleman and Williams prove the Big Bang theory as sisters both bound together and torn apart.

8. On the Town (Regents Park Open Air Theatre) Leonard Bernstein’s music, spctacular choreography and a balmy Summer evening. Who could ask for anything more?

9. Oslo (National Theatre, Lyttelton/Harold Pinter) It takes a great play to show the world how negotiations between nations should be handled.

10. Albion (Almeida) Muddled metaphors, but thoroughly engrossing drama.



Male in a play – Andrew Garfield (Angels in America)

Female in a play – Sara Kestelman (Filthy Business at Hampstead Theatre)

Ensemble in a play – The Ferryman

Male in a musical – Let’s leave this one for either Hamilton or Jamie to claim

Female in a musical – Audra Macdonald (Lady Day…)

Ensemble in a musical: – Follies



New play: The Ferryman

New musical: Romantics Anonymous (Sam Wanamaker Playhouse)

Director (play): Sam Mendes (The Ferryman)

Director (musical): Emma Rice (Romantics Anonymous)



Obviously I have been selecting shows to see more carefully this year, coming up with a very short list of only three stinkers:

1.  Salomé (National Theatre, Olivier) Overblown and underwritten load of Biblical tosh. Audiences may well have felt entitled to ask for writer/director Yaël Farber’s head on a plate.

2.  Common (National Theatre, Olivier) The great mystery is how anyone could have thought it worthwhile to spread this huge pile of early 19th Century farmyard manure all over the Olivier stage.

3.  The Secret diary of Adrian Mole… (Menier Chocolate Factory) I acknowledge freely that not everyone loathed this as much as I did. Nonetheless, after a disappointing year (apart from Love in Idleness), I am starting to worry that the delightful Menier’s crown is slipping.

Dirty Great Love Story Production Photos Photo Credit: Richard Davenport for The Other Richard

Dirty Great Love Story Production Photos
Photo Credit: Richard Davenport for The Other Richard


“All love stories are good, but the great ones are dirty” we are told as this bubbly 90-minute comedy nears its conclusion. “Dirty” means “messy” (or sometimes not), as we hear a tale of awkward coupling in the age of over-active smart phones and gentrified cities. The characters involved are called Richard Marsh and Katie Bonna, which just happens to be the names of the play’s writers.

The couple enters as if about to perform a comedy double act and, on a white rectangular platform with just two moveable chairs, Richard (Felix Scott) and Katie (Ayesha Antoine) tell us how they met when a stag party and a hen party collided. He is one of the lads, describing himself as “not good-looking in the classical sense”. She is flirtatious, eats gluten-free croissants and is prone to drinking too much. She has been dumped by her boyfriends, he is unlikely to have been in a relationship that reached such a stage. Each regards the other as “not my type” and a night together in a convenient Travel Lodge does little to change that. To anyone who has ever seen a romantic comedy, nothing that follows is even slightly unpredictable as they meet again at a mutual friend’s wedding (not four of them this time) and a christening, but the play’s strength grows out of it’s simplicity and Pia Furtado’s lively. no frills production is content to cash in on the story’s familiarity.

The writing is full of sharp observational comedy, with the added twist that it is in rhyming verse. The laughs are loudest when the rhymes are at their most forced,  Scott and Antoine showing the comic timing to milk them all. They make an endearing pair, self-effacing and innocent as they fumble their ways through the rough and tumble of modern romance. Yes, every situation described in the play is as old as Adam and Eve, but there is a charming freshness running through the writing and the performances that makes it all feel brand new.

Performance date: 25 January 2017

F-cking MenThis review was originally written for The Public Reviews:

The general concept of Arthur Schnitzler’s play La Ronde, written in 1897, has come around in many guises over the years – the musical Hello Again and David Hare’s The Blue Room are examples – and here Joe DiPietro gives a distinctly modern twist to the old story. This production is a revival of the play that already holds the record (nine months) for a run at the King’s Head. It tells of a chain of lovers linked together by carnal desires, but torn between sexual freedom and commitment. Repeated references to the “only connect” passage in EM Forster’s Howard’s End underline that the play’s central purpose is to examine the nature of connections that people make with each other.. Oh, and in case the title had not given it away, all the characters are gay males, although, in the equal society of 2015, sexual orientation may be regarded as incidental. DiPietro is writing about the wider human condition, but the assertion by one character that the advantage of being gay is not being trapped by monogamy now seems rather ironic. This 90-minute merry-go-round ride begins in a park at night with John (Chris Wills), a rent boy, picking up a soldier (Harper James), who justifies the encounter to himself, unconvincingly, with “you take girls to dinner first, with guys you just have to look”. The soldier develops a taste for the thrill and the danger of casual liaisons and goes to a sauna, where he meets a tutor (Ruben Jones), who then finds it impossible to resist the teasing of a 21-year-old student (Euan Brokie). When the student sets up an internet hook-up with an older man (Jonathan McGarrity), DiPietro begins to explore the fragility of marital fidelity. The man is having this casual dalliance for no better reason than that his spouse (Richard De Lisle) does the same regularly, observing agreed rules (or so he believes). But these scenes ask whether monogamy and promiscuity can ever co-exist without deceit. A porn actor (Haydn Whiteside) who yearns to be valued for more than just his physical attributes, a fringe playwright (Darren Bransford), a closeted Hollywood movie star (Johnathon Neal) and a television chat show host (Richard Stemp) all follow in the chain until, finally, the latter hires the services of John. By its nature, the play is episodic, but Geoffrey Highland’s simply-staged production flows smoothly from scene to scene. It is edgy, acted with conviction and, with soft music such as Ravel’s Bolero heard in the background, tinged with pathos. The play offers a witty and entertaining reflection on the fundamental human dilemma – to commit to someone or to roam free or both? In the final segment, a hint of sentimentality creeps in and DiPietro seems to come down on the side of commitment, but, otherwise, he presents all the cases objectively and leaves us to decide for ourselves.

Performance date: 8 August 2015

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