Home

Leicester Square Theatre 8 July – 3 September.  Reviewed by Claire Roderick

Julia Donaldson and Axel Scheffler’s classic children’s stories return to the stage this summer in a delightful and charming show. Beginning with a prolonged non-verbal section where the cast excitedly explore the set and boxes of props – drawing a bemused “Why won’t they say hello to us?” from a nearby child – the cast soon show their musical skills with an introductory song that warns the audience that the Gruffalo will not be appearing.

Leonie Spilsbury, Brian Hargreaves and Lauren Silver present A Squash and a Squeeze, Tiddler, The Smartest Giant in Town in a delightful mix of music and rhyme, with the children in the audience giggling in anticipation of the funny moments from the familiar tales. Monkey Puzzle is used as a framing device, allowing lots of clowning around as the cast pretend to be jungle animals between the other stories to great effect. The show is slickly ramshackle, with puppets being made of rope and feather dusters, and animals made of cushions with faces and tails attached. But this is the charm of the production. These are things the children can use to imagine the stories at home, and the young audience is trusted to imagine parts of the stories themselves. In fact, Tiddler’s great leaps of imagination are not embellished at all – the cast just narrate the tall tales as the children giggle along – not a mermaid in sight. The scary part of Tiddler’s story is portrayed using simple shadow puppets, which made a few younger children cling to their parents, but mostly elicited squeals of delighted horror and “I’m not as scared as you” competitions.

The cast are fantastically energetic and engaging, playing instruments and manipulating the props wonderfully to create a little bit of storybook magic for the very young audience. There are enough moments of knowing humour to keep the accompanying adults happy too, although most of the time your head is spinning as the entertainment watching the children’s reactions to what is happening on stage is as satisfying as watching the cast. I mean that in the best way possible – this show had the children enthralled from start to finish, and is a brilliant way to introduce young audiences to the theatre.

Tiddler & Other Terrific Tales is a perfect summer treat for young families – imaginative retellings of firm favourites in a relaxed and entrancing show.

Talk Radio
Old Red Lion Theatre, 418 St John Street, London EC1V 4NJ
Tuesday 29th August – Saturday 23rd September 2017

This autumn, the team behind No Villain return to the Old Red Lion with Eric Bogosian’s Pulitzer Prize-nominated Talk Radio. Thirty years after its inaugural production in New York, this play explores the not-so-hidden prejudices in ‘80s America and the power of the media to manipulate events

Barry Champlain is abrasive and forthright, the ultimate devil’s advocate, willing to argue just about any point. He lives for his radio show and the minor fame it brings him but his on-air persona is just that: a persona. Barry despises the people he talks to every day; he loathes their views and he abhors their adoration.

His listeners think they know him but Barry is not even sure he knows himself. He is careless and cold with his lover Linda, downright ugly to his best friend and collaborator Stu and spiteful of his producer, the man who made him, Dan. But above all, he detests himself for the lie he is living.

While freedom of the press has always been viewed as important, Bogosian’s play highlights that, in the wrong hands, this freedom can be used to baffle and create prejudice. In a post-truth age of fake news and continued attacks against the press, this landmark hit has never felt more relevant.

Director Sean Turner comments, I am delighted to be bringing back together some of the major players from 2015’s highly successful No Villain, the world premiere of Arthur Miller’s first play. The time is more than ripe for London audiences to enjoy the fast-paced adrenaline thrill ride that is Talk Radio. The production will be anarchic and raucous – once we put our foot on the pedal it will not stop.

The most lacerating portrait of a human meltdown this side of a Francis Bacon painting. (New York Times)

Jack Studio Theatre 18 July – 5 August.  Reviewed by Claire Roderick

The Taming of the Shrew is one of those plays that can cause bitter arguments. I have met many women who are adamant that the play should not be performed anymore, citing its misogyny and scenes of subjugation, torture and reprogramming. My argument that there are some really funny parts just doesn’t wash. Unlike the Globe’s Irish set tragic version last year, Lazarus Theatre have embraced the Christopher Sly framing structure to present a boisterous and funny adaptation that never lets the audience forget that they are watching a play within a play, designed to teach a sexist drunken idiot the error of his ways.

The fun begins before you enter the theatre, with festival bunting and fake grass adorning the entrance as the cast push past you laden with tents and deckchairs. As always with Lazarus, there is lots of relaxed preshow audience interaction, before Sly makes his entrance.

Staged in the round, the audience become part of the show, given props and lines, with this enjoyably relaxed atmosphere allowing much louder and spontaneous reactions to some of the more sexist lines than you would usually hear in a Shakespeare play. The bartering over Bianca becomes like The X Factor, with the audience waving flags and cheering for their favourite suitor, and the disturbing scenes where Kate is tamed are played at top speed, and for laughs. Director Sara Reimers ends on an act of defiance and power, as the always dignified Kate (the wonderful Charlotte Dowding, whose facial expressions say as much as Shakespeare’s words) and the female cast show their contempt for how they are treated by the men.

The strong cast all give energetic and physical performances, with CJ de Mooi chewing the scenery to hysterical effect as old Gremio, and Matthew Foster so good as Petruchio that you actually want to slap the him. The loyal servants, Tranio and Grumio are played brilliantly by Evangeline Dickson and Rachel Smart, giving their respective cleverness and oafish brutality an interesting new spin.

There was a little too much unnecessary smoke effects at times, but that is my only gripe, and, I suppose that inhaling dodgy strange smoke gives the production a more realistic festival atmosphere.

With The Taming of the Shrew, Lazarus Theatre have done it again, re-imagining a classic play in a modern, exciting and joyful production that cannot fail to bring a goofy smile to your face.

The White Bear, Kennington – until 5 August 2017.  Reviewed by Brian Gordon

The White Bear is an intimate venue with no more than 40 people above this idyllic idol pub in South West, London. Nothing fancy, just seating platforms, great sound and lighting and no stage. The audience can feel and breath the performance. There is nowhere for the performer to hide.

Sheep is the tale of Dexy (Sexy Dexy to a friend) who has struggled with sleep for 20 or maybe 21 nights…! Written by David Cantor whose previous writings have seen family fun in My Family and more adolescent frivolity in 2 Pints of Lager and a Packet of Crisps, this more sartorial production takes the audience in to the dark mind of the insomniac.

Dexys travels through the night see his infatuation for the lady in the red dress developed via his interactions with the overly sexualised Leo and the less than exciting Vic. Is Dexy asleep or could this all be a dream or is there more to this nigh than anyone would expect…

Ciarian Lonsdale’s portrayal of the insomniac Dexy is bolstered by the energetic performance of James Groom as Leo. Ridiculously sexualised and costumed in a more than brave way he spends the evening between being balls deep in social pollen and the articulation of the threat from hybrid polar bear monkeys on 70s DJs released on to the underground at night. Leo develops a penchant for resolving Dexys sleep problems, but not always within Dexys more conservative traits in mind.

It seems Dexy has more problems with sleep than those relating to lavender oil, duck down pillows and dolphin song…Vic has an aversion to frothy layers on a brew, what English man wouldn’t and a desire to get back to his night bus. But only once the board games are done and the Nigerian traffic wardens have fended away the polish builders…Or are the saboteurs…! Is the night to unravel.

Darkly funny this twisted story is delivered as the story beyond all stories with the cast delivering with passion and panache. The writing is deep and yet light in its delivery of a darker message, made humorous by the team of creative and talented artists. David Cantor could not get further from My Family than the inclusion of the discussion point of which Cranky to take to an orgy….But in context, it’s a pretty valid question…!

This production might get lost on a larger stage but the nature and narrative of the story, along with the superb delivery of the cast provide a lighthearted view of the consequences of stealing from Jesus Romero and the ever-present threat of Italian and Spanish Restaurants colluding…

Theatre N16 12 July – 5 August.  Reviewed by Claire Roderick

Craft Theatre’s production of The God of Hell is a timely and provocative satire that will spark much debate. Sam Shepard’s “take off on Republican fascism” may have seemed over the top in 2005, now the laughs are tinged with the uneasy feeling that this sort of thing could well be possible from the present POTUS and his team.

Emma and Frank’s rural isolation in Wisconsin is broken when old friend Graig Haynes shows up. Hot on his radioactive trail is Welch, a government agent who will not rest until Haynes is found and taken back to a secret Colorado base. In Welch’s world, the government are in complete charge, with no checks and measures to prevent them doing whatever they like for the “good” of the US, whether the public like it or not. Hmmm…

Director Rocky Rodriguez Jr. has infused the short play with cartoonish humour, with Abigail Screen’s monochrome design adding to the surreal tone – kitchen appliances and furniture having a distinctly Flintstones vibe. The tension and sense of paranoia is ratcheted up in the first part of the play, with twitchy and volatile (literally) Haynes providing more questions than answers for the increasingly nervous Emma. The last scene, where details of horrific torture and programming are revealed – male audience members were squirming through their laughter – descends into sometimes bemusing surreal comedy, but the play ends on a satisfying note thanks to a wonderful performance from Helen Foster as Emma. This isn’t Shepard’s best play, with desperately unsubtle dialogue at times, but the sentiment is sincere and extremely relevant today.

Helen Foster makes Emma completely believable in the early part of the play, nailing the settled boredom and growing desperation of the farmer’s wife, and the accent. Craig Edgley is a hoot as Frank – dim and benign until he sells his beloved heifers, while Ryan Prescott is strong as Haynes. Thomas Throe does well as Welch, but this pivotal character is sometimes a little underwhelming for my tastes. If Rodriguez’s intent was to make him a bland everyman then he’s hit his mark, but for me, there was never enough smarmy patriotism as the flag salesman or cold-eyed fanaticism in the latter stages to match the tone of the other performances.

Craft Theatre’s take on The God of Hell is an amusing and interesting production that will certainly give you lots to think about – well worth a look.

Lyceum Theatre, Sheffield – until 22 July.  Reviewed by Dawn Smallwood

Based on the 1998 smash hit film, starring Adam Sandler and Drew Barrymore, The Wedding Singer is embarking on a current UK Tour, which includes a stop at Sheffield’s Lyceum Theatre. Set in the 1980s, the story is about Robbie Hart (Jon Robyns) who sings at weddings. He is ditched by his fiancée, Linda (Paris Green), on their wedding day and subsequently falls in love with Julia (Cassie Compton).

The musical premiered on Broadway in 2006 and was nominated for a Tony Award. The audience is invited to join Robbie’s life journey of emotional ups and down – he is in the company of two friends and bandmates, Sammy (Ashley Emerson) and George (Samuel Holmes) and also Julia (Compton) and her best friend, Holly (Lucie Jones).

With a focus on 1985 there are numerous references from the 1980s and societal issues which were considered taboo then but not today. The hairstyles and clothes (via the costumes) reflect the decade’s fashion and the sets on the stage travels back in time.

The Wedding Singer is packed with show stopping musical numbers, composed by Matthew Sklar and written by Chad Beguelin. These include the catchy pulsating Saturday Night in the City – all set to a disco beat with glittery lighting and smoke. There is the materialistic All About the Green, the liberal Single and the committed Grow Old with You which is sung convincingly at the end by Robyns and Compton.

Robyns and Cassie lead this stellar cast who do an excellent performance under the direction of Nick Winston. A special mention must go to Ruth Madoc, known for her role as Gladys Pugh in Hi-de-Hi. Her presence as Rosie radiates throughout and doesn’t go unnoticed. Her memorable act with George (Holmes) in the rapping Move That Thang in the second act is formidable.

A feel good musical with energetic non-stop action throughout. It is light-hearted with a combination of contemplation and a guaranteed evening of laughter and nostalgia.

Trafalgar Studios 12 July – 19 August.  Reviewed by Claire Roderick

20 years after its British premiere, Disco Pigs still packs a punch. Under John Haidar’s inspired direction, Enda Walsh’s story about an intense and unhealthy relationship pulsates with energy and bravado.

Pig (Colin Campbell) and Runt (Evanna Lynch) are celebrating their 17th birthdays. Born on the same day, in the same Cork hospital, they are closer than brother and sister, sharing their own language and excluding others, even their families, from their own bubble of reality. Pig is happy being with Runt, whether drinking and dishing out beatings as the self-proclaimed king and queen of Pork City, or huddled in their bedrooms watching Baywatch and Wogan. Runt, however, is beginning to want something more in life, something different and real.

Walsh’s script (delivered in strong Cork accents that bring a magic to the more poetic moments, and a guttural intensity to the violent encounters) is stunning – with the infantile rituals of the pair feeling like a CBeebies version of A Clockwork Orange and drawing gasps of laughter and shock from the audience. Interspersed with the chaos of the night are quiet and lyrical introspective descriptions and musings that allow glimpses of the lost souls beneath the lairy veneer. Walsh captures the turmoil of adolescent emotions in a wonderfully stylised but recognisable way.

Colin Campbell is phenomenal as Pig – changing from innocent puppyish charm to rabid thug in a heartbeat in a powerful and utterly convincing performance. Evanna Lynch is equally impressive, full of energy and especially strong in Runt’s imaginings of a different sort of life. The pair have fantastic and generous chemistry, never competing for the spotlight, and allowing each other their moments to shine. Their physicality is exhausting, and movement director Naomi Said has developed wonderful routines to help tell the story. The miming and sound effects may grate on some members of the audience, but it all felt true to the naivety of the pair’s parallel world, and Richard Kent’s design – bare black stage with intricate and sympathetic lighting changes – conveys the voluntarily imposed isolation of Pig and Runt. They are the only things that matter in their world, except for their quest to get into the Palace Disco, where Campbell gives a gut-wrenching performance as Pig runs through the whole gamut of emotions.

The 20th anniversary production of Disco Pigs is bloody brilliant – beg, steal or borrow, but GET A TICKET.

Park Theatre – 12 July – 12 August.  Reviewed by Claire Roderick

Kevin Elyot’s final play is a time twisting tale of forbidden love and lost chances that will keep you enthralled from start to finish. Set in the sitting room of a Victorian villa, Twilight Song jumps between the 1960s and present day as the characters’ web of secret liaisons and shattered dreams are unravelled.

The play begins in the present, with cocky estate agent Skinner valuing the house for Barry and offering extra services. An offer which Barry is keen to take up, as his mother is out for the afternoon. Back in the 60s, Isabella has settled for marriage with boring and placid Basil, and is pregnant with their first child – Barry (although this doesn’t stop her necking gin whenever possible). With the help of Uncle Charles, they have bought the villa and have employed a gardener recommended by Charles’s good friend Harry. Over the evening, the older men’s true past relationship is revealed, although Harry hides behind the façade of his happy family life.

Director Anthony Banks allows Elyot’s bittersweet and funny script to shine, and the cast’s timing has the lightest touch – the beats and silent looks convey as much as the lines. There are many laughs, but the overall tone of the play is lonely regret, with the life of Barry being no happier than that of Charles and Harry before homosexuality was decriminalised. James Cotterill’s design is stunning in its simplicity, with the patio doors lit beautifully as the sun sets. The lighting and sound during set changes is inspired, with an initially puzzling, but ultimately satisfying character exit included.

Bryony Hannah impresses as Isabella, full of repressed passion as a newlywed, and full of bile as the bitter old lady in the present (no aging makeup thank goodness, just dim lighting and a croaky venomous voice). As Barry/Basil, the wonderful Paul Higgins brings a depressed Alan Bennett vibe to the character of Barry, completely changing when he gets the chance to fill his hypodermic. Adam Garcia is suave and sexy as Skinner, and dangerous and sexy as the gardener, making the most of this pivotal role (and he sings!). Philip Bretherton and Hugh Ross are fantastic as Harry and Charles, with Bretherton’s stiff upper lip denial cracking subtly and Ross bringing a lump to your throat as the more flamboyant but heartbroken Charles.

Twilight Song is a wonderful theatrical treat, a story beautifully told, sensitively directed and expertly performed.

CASTING AND COMPLETED CREATIVE TEAMS ANNOUNCED FOR
DICKENS UNCOVERED: A TALE OF TWO CITIES AND OLIVER
TWIST CREATED FOR EVERYONE AGED SIX AND OVER

Bringing two of Charles Dickens’s most popular stories out in the open as part of the 2017 season at Regent’s Park Open Air Theatre, Dickens Uncovered celebrates the greatest storyteller of London life.

Casting and completed creative teams have today been announced for A Tale of Two Cities (7 July – 5 August), a new play by Matthew Dunster adapted from the original novel, and Oliver Twist created for everyone aged six and over (17 July – 5 August) adapted by Anya Reiss especially for families.

“I am delighted that this group of 32 talented performers are coming together to reimagine these two iconic London stories. For those of us who read them alone at home, at school or on the tube, I hope we can reclaim them anew together in the Park. For those who only know them as titles, then let us take you on a trip back to the nineteenth century blockbusters, via 2017. This is Dickens uncovered for everyone.” (Artistic Director, Timothy Sheader)

Director Timothy Sheader has assembled a company of 21 actors to re-tell Dicken’s A Tale of Two Cities: Lydia Bradford, Sean Cernow, Claire-Louise Cordwell, Marième Diouf, Patrick Driver, Nabil Elouahabi, Lorna Gayle, Lewis Griffin, Nicholas Karimi, Nicholas Khan, Andrew Koji, Kevork Malikyan, Francesca Mills, Jude Owusu, Tim Samuels with Aliya Ali, Evie Buxton, Mia Dalley, Foyinsola Ighodalo, Kaitlyn Kou, and Olivea Puci sharing the children’s roles.

Developing their programme of work made especially for families, Caroline Byrne directs Oliver Twist created for everyone aged six and over in daytime performances alongside A Tale of Two Cities. A cast of 8 actors, Robyn Cara, Rina Fatania, Danny-Boy Hatchard, Michael Hodgson, Daniel Hoffmann-Gill, Gbemisola Ikumelo, Shaun Mason and Angela Wynter play multiple roles, with Tia-Lana Chinapyel, Lewis Fernée and Jordan Nash alternating in the title role.

Design for both productions is by Fly Davis.

The completed creative teams also include, for A Tale of Two Cities: Liam Steel (Movement Direction), Lee Curran, who received an Olivier Award-nomination for Jesus Christ Superstar (Lighting Design) and Christopher Shutt (Sound Design). For Oliver Twist created for everyone aged six and over, the creative
team includes Lucy Burge (Movement Direction), Joshua Anio Grigg (Sound Design) and Joe Dieffenbacher (Physical Comedy Direction). Casting for both productions is by Polly Jerrold.