Richard Bean’s 2010 adaptation of David Mamet’s House of Games brings the intriguing world of con artists and scammers to the Hampstead stage. There is a reason why podcasts and documentaries about people who inhabit this (of late largely online) space are so popular and Jonathan Kent’s production is a fun look at this world of devious thrills. .
In a bright tidy office, we meet Margaret (Lisa Dillon), a famous psychiatrist who is in session with trust fund kid turned gambler Billy (Oscar Lloyd). Billy is waving a gun around and talking about the shadowy world of the House of Games where he has racked up huge debts. Margaret, in need of new material for an upcoming book deadline does what anyone would do in this situation (?!) and decides to go and investigate. She goes down to the seedy dive bar, and it’s here we meet Mike (Richard Harrington) and his charismatic ragtag bunch of poker playing pals. There’s Bobby (Andrew Whipp) the hopeless Hell’s Angel bartender, George (Sion Tudor Owen) the sweary drunk distraction, and Joey (Robin Soans) the put together elderly gent in a suit and tie. As soon as she arrives to clear Billy’s debt, Margaret is drawn into the exciting world of confidence tricks and though she is there just to observe, she’s all in and the game is afoot.
Richard Bean’s adaptation does a commendable job of translating screen to stage especially in the utilisation of Mamet’s pacey dialogue and there is a feeling of low level peril throughout. It is however Ashley Martin-Davis’ split level set that is the star of the show. With fun little details in every corner, Margaret’s office is complete with Peter Mumford’s noir shutter blind lighting. The cleverest trick of the show being the switch from bar to office and back again.
At 100 minutes straight through, the pace doesn’t quite manage to maintain throughout, and what should be an exciting final reveal tails off with a dragging predictability. There is some great comic work from the gang of low level criminals, but it seems that this comes at the expense of some emotional depth.
Overall, House of Games is an entertaining evening. It’s clever, stylish, and slick, and no matter what the setting or the platform, I will always enjoy a tale of conmen, scammers and grifters.
The Sociable Plover returns to the Old Red Lion Theatre in a triumphant twentieth anniversary production. The two-hander thriller by Tim Whitnall premiered in June 2005 in the perfectly rustic and intimate space in Islington, subsequently going on to tour the world before returning to the scene of the crime from whence it sprang.
Avid bird watcher and The Weakest Link enthusiast, Roy Tunt is just one sighting away from completing his list of every bird species recorded in Britain. On this thunderous, cold December morning, he has decided that with the perfect conditions in place, today will be the day he succeeds in fulfilling his life-long goal. That is, until mysterious stranger, Dave arrives in a flash of thunder to invade both Roy’s space and mind. What follows is a thrilling and witty two-hander peeling back the layers and back stories of these two individuals, gaining insight into their history and psyche, resulting in dramatic conclusions.
With a closed space and time setting, this pressure cooker of a play does not disappoint with its eerie psychological setup and humorous dialogue. As with any two-hander, the balance in chemistry between the two leads is crucial. Calum Lill as Dave executes the spot-on realism with a clean precision that is required for the space. He discovers every nuance and emotional beat within the material and has the ability converse with matter-of-fact suave only to raise the stakes within a single breath when the plot calls for. Jack Robertson is immensely charismatic in his portrayal of Roy; his characterisation choices result in a wonderful and loveable amalgamation of Hyacinth Bucket and Roy Cropper. The performance from Robertson sometimes overshadows Lill’s more nuanced performance resulting in a shift in balance throughout, however, the two actors are eventually in-sync as the play reaches the denouement.
Under the direction of Christa Harris, this wonderfully paced and concise 70-minute play never lingers or dwindles. Every moment is both necessary and entertaining, successfully delivering a truly nail-biting theatrical evening.
Richard Bean’s 2010 adaptation of David Mamet’s House of Games brings the intriguing world of con artists and scammers to the Hampstead stage. There is a reason why podcasts and documentaries about people who inhabit this (of late largely online) space are so popular and Jonathan Kent’s production is a fun look at this world of devious thrills. .
In a bright tidy office, we meet Margaret (Lisa Dillon), a famous psychiatrist who is in session with trust fund kid turned gambler Billy (Oscar Lloyd). Billy is waving a gun around and talking about the shadowy world of the House of Games where he has racked up huge debts. Margaret, in need of new material for an upcoming book deadline does what anyone would do in this situation (?!) and decides to go and investigate. She goes down to the seedy dive bar, and it’s here we meet Mike (Richard Harrington) and his charismatic ragtag bunch of poker playing pals. There’s Bobby (Andrew Whipp) the hopeless Hell’s Angel bartender, George (Sion Tudor Owen) the sweary drunk distraction, and Joey (Robin Soans) the put together elderly gent in a suit and tie. As soon as she arrives to clear Billy’s debt, Margaret is drawn into the exciting world of confidence tricks and though she is there just to observe, she’s all in and the game is afoot.
Richard Bean’s adaptation does a commendable job of translating screen to stage especially in the utilisation of Mamet’s pacey dialogue and there is a feeling of low level peril throughout. It is however Ashley Martin-Davis’ split level set that is the star of the show. With fun little details in every corner, Margaret’s office is complete with Peter Mumford’s noir shutter blind lighting. The cleverest trick of the show being the switch from bar to office and back again.
At 100 minutes straight through, the pace doesn’t quite manage to maintain throughout, and what should be an exciting final reveal tails off with a dragging predictability. There is some great comic work from the gang of low level criminals, but it seems that this comes at the expense of some emotional depth.
Overall, House of Games is an entertaining evening. It’s clever, stylish, and slick, and no matter what the setting or the platform, I will always enjoy a tale of conmen, scammers and grifters.
PLAYHOUSE THEATRE, LIVERPOOL – UNTIL SATURDAY 17TH MAY 2025
REVIEWED BY MIA BOWEN
5*****
Paula Hawkins’ novel, The Girl on the Train, truly took the world by storm, shifting over 20 million copies and even sparking a Hollywood film with Emily Blunt in the lead! It’s been a while since we’ve seen a psychological thriller reach such heights. I’m usually of the mind that many beloved books are better left untouched, as adaptations can sometimes miss the mark. Yet, the collaboration between Rachel Wagstaff and Duncan Abel is a refreshing exception! Their writing delivers an engaging and complex story while adding a delightful theatrical twist. The visual elements and dramatic intensity bring the narrative alive in a way that only live performances can. This production keeps you on the edge of your seat, as the characters’ captivating twists and turns unfold. It will keep you guessing until the final moment, just as much as the book does. It’s a truly gripping mystery that is sure to enthral everyone!
The story centres around Rachel Watson, portrayed by Louise Lytton. As a divorcee who struggles with alcohol, she rides the same train each day, often spotting the home she once shared with her ex-husband, Tom, played by Jason Merrells. She finds herself captivated by a seemingly perfect couple she glimpses from the window. However, everything changes when the woman goes missing, and Rachel gets caught up in the investigation, with her hazy memories making things even trickier.
Lytton beautifully showcases Rachel’s inner battles and the shifts in her understanding, making her character feel really rich and relatable. Her ability to express Rachel’s feelings of confusion and turmoil stands out, adding such depth to the whole production and making it truly captivating.
Natalie Dunne, playing Megan Hipwell, and Samuel Collings as Scott Hipwell were fantastic in their roles! Dunne brought a beautiful mix of delicacy and strength, really shining in every flashback moment. Her unexpected disappearance kickstarts the entire story. On the other hand, Collings gave a gripping performance filled with grief and intensity. His character’s strong emotions make him a crucial part of the mystery, leaving everyone wondering whether he is innocent or hiding something darker. It’s a captivating experience for the audience!
Adam Wiltshire has created a lovely minimalist set for the performance, complete with video screens and a charming backdrop of rain that adds a wonderful atmosphere. The stage may have a dark and moody vibe, but the cast is always beautifully illuminated, showcasing their talents. I was curious about how the train journeys would be depicted, but the clever use of lighting on the stage floor really brings those moments to life, making it clear when Rachel is on a train. Jack Knowles’ lighting is simply brilliant, adding movement and intrigue with such an innovative approach—it’s truly impressive!
This adaptation, directed by Loveday Ingram, brings the gripping story to life on stage, offering a fresh perspective on the tale of obsession and mystery.
James Graham’s stage adaptation of Alan Bleasdale’s 1982 television series Boys from the Blackstuff, directed by Kate Wasserberg, authentically portrays working-class life in 1980s Liverpool. This brilliant production effectively captures the original’s moving depth and relevance.
Graham’s adaptation weaves together the narratives of the main central characters—Yosser (Jay Johnson), Dixie (Mark Womack), Chrissie (George Caple), Loggo (Jurell Carter), and George (Ged Mckenna)— as they all try to survive in Thatcher’s Britain. Bleasdale’s original episodic structure is transformed into a collective experience for the stage instead of individual stories – and it works really well! The tragic death of Snowy, a character from the original series, serves as a central motif and this is entwined within the characters’ individual odysseys whilst highlighting the themes of loss and community.
Jay Johnson’s portrayal of Yosser Hughes must be praised for its intensity and child-like vulnerability. His performance captures the character’s internal turmoil that’s covered up with aggressive bravado. Caple’s Chrissie offers a multifaceted depiction of moral conflict, while Womack’s Dixie adds further complexity to the group. Under Wasserberg’s direction, the production balances humour with serious issues that keep the audience engaged.
Amy Jane Cook’s set design brilliantly captures the industrial backdrop of Liverpool, with towering gantries and gritty textures that ground the narrative in its socio-economic landscape. Jamie Jenkyn’s video projections enhance the setting, with the Mersey in the backdrop and the sad demise of Snowy. In between scenes, the crowd ensembles work together smoothly and add a rhythm and a beat that makes the whole production flow.
James Graham’s Boys from the Blackstuffis a compelling adaptation that pays homage to Bleasdale’s original whilst introducing the story to a younger generation. It takes us on a journey of exploration in times when unemployment was rife and looks at how individuals and a community dealt with it. Boys from the Blackstuff is an important piece of contemporary theatre as it gives us a glimpse of cultural history that is both entertaining and educational.
Theatre Royal, Windsor – until Saturday 17th May 2025
Reviewed by Carly
4****
Windsor brings you (This is not a) Happy Room, a new play by Rosie Day, directed by Hannah Price.
It’s tells the story of the three Henderson siblings, who are meeting up in Blackpool at a hotel function room that has seen better days, for their father’s third wedding in which they feel will be just as unsuccessful as all the others.
One by one they begin to arrive at the venue and its clear to see that their relationships seem somewhat fractured.
You have Laura (Andrea Valls) the eldest daughter, who brings along her long suffering husband Charles (Tom Canji) and their newborn daughter along for the ride, or should I say rollercoaster seeing as they’re in Blackpool! She’s a successful Human Rights lawyer, who’s used to being in control!
Then arrives Simon (Declan Baxter) the brother who’s a hypochondriac who believes he’s going to die and insists all his issues are medically documented although his family believes otherwise.
The last of the siblings to arrive is Elle (Rosie Day). She’s a successful actress that has flown in from LA and seems to be the wild child out of the three, who’s harbouring her own dark secrets!
The last to arrive being their Mum Esther (Amanda Abbington) wife No 1 who is purely there to stick her oar in and to let the new wife know she should “run whilst she can”, using the excuse of driving the Grooms Aunt Agatha (Alison Liney) to the wedding. Agatha likes to chat about their dad’s life growing up exposing secrets from his past, as well as forgetting about the present time and why she’s actually there!
But as the day goes on there seems to be no sign of the Bride and Groom! With everyone now complaining that it’s just typical of their fathers character to be late for his own wedding rehearsal dinner. Only for them to find out the devastating news that their father has been in a terrible car crash and has passed away!
Now leaving them the only option of not wasting the venue but instead turning it into his memorial telling guests on their arrival!!
All their hidden secrets and repressed memories and feelings combined together create a funny yet honest portrayal of the dynamics of family life.
The cast done exceptionally well with such an eray of complicated characters, moving seamlessly from quiet serious moments and topics to light humour.
The stage was simple yet effective of a hotel function room with minor changes to signify the move from wedding to memorial service.
All in all a very complexed play that’s well worth a watch.
FIRST VENUES ANNOUNCED FOR A NEW MAYFLOWER SOUTHAMPTON TOURING PRODUCTION OF NOËL & GERTIE
Mayflower Southampton are delighted to announce a new production of the feel-good musical Noël & Gertie which will open at Mayflower Studios in September.
Directed by Mayflower’s Associate Artistic Director, Thom Southerland, the show will run at Mayflower Studios, Southampton from 19 – 27 September, before visiting Leicester Curve and The Grand Theatre Blackpool, with further tour venues and casting to be announced.
A heartfelt journey full of wit, warmth, and nostalgia, Noël & Gertie explores the fascinating friendship between two of the 20th century’s most iconic figures—Noël Coward and Gertrude Lawrence. Audiences will be taken to the glamourous era of British theatre, celebrating the special bond between the playwright and the actress.
Through a series of memories, the golden age of the West End is brough to life, where Noël Coward’s wit and panache for life meets Gertrude Lawrence’s elegance and grace. As well as highlighting their collaborative works, Noël & Gertie explores the personal chemistry that sparked their deep affection and fondness for one another.
Noël & Gertie director, Thom Southerland(Titanic The Musical, Chitty Chitty Bang Bang, The Illusionist) said “I am delighted that we can bring Noel and Gertie’s iconic story to the stage. This is a fascinating story about the lasting friendship between two of theatres biggest icons, with beautiful music throughout. I cannot wait to share this brand-new show that celebrates golden era of theatre with Mayflower and further audiences across the UK in our tour.”
Noël & Gertie features numbers from many Noël Coward works including Private Lives and the classic song, Don’t Put your Daughter on the Stage, Mrs Worthington, join one of the most legendary duos in show business history for an evening of style and elegance.
Mayflower’s Chief Executive Michael Ockwell says “We are incredibly proud to be producing Noël & Gertie and are delighted that the show will be visiting Leicester and Blackpool. This production notonly celebrates the timeless brilliance of Noël Coward and Gertrude Lawrence, but also reflects our desire to be producing our own work and launching touring shows from Southampton. It will be a joy to bring this elegant and heartwarming story to life for audiences.”
Tickets for Noël & Gertie (Friday 19 – Saturday 27 September 2025) are on sale at mayflower.org.uk or 02380 711811
Critically acclaimed MUSIK by Jonathan Harvey and Pet Shop Boys starring Frances Barber returns to London!
Wilton’s Music Hall 14th – 25th October
Frances Barber as Billie Trix – photo by Marc Brenner
Six years after its sold out critically acclaimed world premiere at the Edinburgh Fringe and London transfer, outrageous MUSIK by writer Jonathan Harvey and Pet Shop Boys Neil Tennant and Chris Lowe is to return to London.
Billie Trix. Icon. Rock star. Screen goddess. Hedonist. Billie has lived a life of excess and shares it all in her one-woman show. Her journey takes us from post-war Berlin to the rock arenas of the world, via the Vietnam war, Andy Warhol’s Factory, and 10 years living in a Soho Square phone box.
A 60-minute, one-woman cabaret starring multi-award-winning actress Frances Barber reprising the role of Billie Trix she first created in the 2001 West End musical, Closer to Heaven, MUSIK will run at Wilton’s Music Hall from 14th – 25th October.
Frances Barber said: “Of all the characters I’ve ever played, Billie Trix is the closest to my heart. A woman of a certain age (even she doesn’t know) who has lived a life that may or may not be entirely accurate, but what a ride! And she’s still here! Billie was born from the brilliant imagination of Jonathan Harvey & PSB in Closer To Heaven over 20 years ago . When we embarked on her solo adventures PSB wrote six new songs for each chapter of her extraordinary experiences, woven into the magical narrative of Jonathan. She’s delusional, outrageous, accidentally hilarious and beyond loveable. I’m thrilled my journey with her is coming back.”
Jonathan Harvey said: “It was such a treat reconnecting and working with Chris and Neil on this, over 20 years after our first foray into musical theatre writing. In MUSIK Billie, dried up, drug addled icon and rock star performs her self-penned self-directed one person art house extravaganza about her life, loves, and – amazingly – how she was present at every important moment in recent – and not so recent – world history. Is she telling the truth? Can she still nail a number after 10 lines of cocaine? Come and decide for yourselves!”
Pet Shop Boys said: “When we wrote Closer to Heaven over 20 years ago, we loved the compelling outrageousness of the character Billie Trix as written by Jonathan and performed by Frances. We discussed for many years the idea of creating her own one-woman show which would give us the chance to write more songs for her as she looks back on her incredible career. It was thrilling when this show became a sold-out reality in Edinburgh a few years ago and we are delighted that it is returning to London in such a beautiful and historic venue. Frances Barber’s astonishing performance is not to be missed!”
Frances Barber Frances Barber is an award-winning star of stage, screen and TV. Her extensive credits include the films Prick Up Your Ears, Sammy and Rosie Get Laid, Trick or Treat, King Lear, Hamlet and Film Stars Don’t Die in Liverpool. Her numerous TV credits include Silk, The Street, Beautiful People, guest starring episodes of Doctor Who as Madame Kovarian, Chelsea Detective and three seasons of Whitstable Pearl. Frances won WhatsonStage Best Actress in a Musical for Closer to Heaven and An Offie Award for Best Actress for MUSIK.
Pet Shop Boys Pet Shop Boys have sold more than 50 million records worldwide and are listed as the most successful duo in UK music history by The Guinness Book of Records. Since 1985 they have achieved 42 Top 30 singles, 22 of them Top 10 hits in the UK Singles Chart, including four UK number ones and at the 2009 Brit Awards, they received an award for Outstanding Contribution to Music. They have also written a score for the classic silent film, Battleship Potemkin, a ballet, The Most Incredible Thing, and performed at the BBC Proms their musical work inspired by Alan Turing, A Man From The Future.
Jonathan Harvey Jonathan Harvey is an acclaimed playwright, novelist and TV writer whose work has earned many awards. His plays include Beautiful Thing, for which he won the prestigious John Whiting Award and Babies (National Theatre Studio/Royal Court Theatre), winner George Devine Award and Evening Standard’s Most Promising Playwright Award. On TV he wrote the cult comedy series Gimme Gimme Gimme, starring Kathy Burke and James Dreyfus, Beautiful People and is a regular script writer on Coronation Street.
The Emu War Musical announces a series of concert performances after smash-hit Fringe success
After a smash-hit Edinburgh Fringe debut, multiple award nominations and 5-star reviews – Taylor Jay Productions with Pearl Whirl Productions and John C. Murphy are excited to announce a series of concert performances of The Emu War Musical this summer. The concert performances will serve as a fundraiser for the future of the production, coming to London’s Off West-End in late 2026.
Get your tail feathers ready for some dancing birds, catchy tunes and laughter! Inspired by true events of the Great Emu War of 1932, this 5-star comedy musical follows the Australian government’s futile attempts to fight some mischievous emus…
The Emu War was one of Edinburgh Fringe 2024’s hottest tickets! It was instantly featured by Playbill as one of their top international picks for the Fringe and was then followed by multiple sold-out shows and 5 star reviews! If that and dancing emus can’t convince you to come along, we don’t know what will…
The mini-tour launches in London on the 23rd June (Phoenix Arts Club), before a performance in Bristol on the 16th July (Wardrobe Theatre), followed by a short run in London from the 4th – 6th September (New Wimbledon Theatre). More dates may be announced in the future.
Full casting and creative team to be announced. Tickets on sale from venue websites on Monday 19th May at 10am.
Cruel Intentions: The ‘90s Musical, presented by Bill Kenwright Ltd. opened with a bang at Hull New Theatre last night. Based on the film of the same name and inspired by Les Liaisons Dangereuses it was created by Jordan Ross, Lindsey Rosin and Roger Kumble.
The show tells the story of Sebastian Valmont (Will Callan) and his stepsister Kathryn Merteuil (Nic Myers) who decide to have a cruel bet with each other. Kathryn tells Sebastain that he has to seduce the new Headmasters daughter Annette Hargrove (Abbie Budden) or he will lose the bet and his classic car amongst other things. Sebastian is used to get his own way with women and at the very exclusive New York High that they all go to, we see the different characters emerge, from Cecile Caldwell (Lucy Carter) the innocent from an all-girls school and Blaine Tuttle (Luke Conner Hall) who is in a secret relationship with football player Greg McConnell (Joe Simmons). But as Sebastian slowly falls for Annette will he or his step sister win the bet?
If you are a fan of ‘90s music, and particularly a good juke production, this is the show for you. The band and the music, under musical director Will Joy, were really, really good. The toe tapping tunes included songs by R.E.M, The Verve, Britney Spears, Boyz II Men and lots more. All the cast were brilliant, singing the easily recognisable songs with ease. They managed to put in a large number of songs into the show and this didn’t distract from the storyline at all, in fact they enhanced it.
This was an excellent production, I really enjoyed it and the cast kept the energy up from the beginning right up to the end
As someone who spent a lot of the ‘90s clubbing I loved it, it had a good storyline, great cast and fabulous music, what more do you need? Well, you need to go and watch it, it really does deserve full houses every night, I really don’t think that you will be disappointed!
