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Full cast announced joining double Olivier Award winner, four-time
Olivier Award nominee and Tony Award nominee Tracie Bennett
in a thrilling new London production of the classic satire
of big business, Frank Loesser and Abe Burrows’
‘How to Succeed in Business’ Without Really Trying’

Southwark Playhouse (Borough)
77-85 Newington Causeway, London SE1 6BD

Friday 12 May – Saturday 17 June, 2023

The full cast is today announced for a thrilling new production of Frank Loesser and Abe Burrows’ ‘How to Succeed in Business Without Really Trying’ at Southwark Playhouse (Borough) from 12 May – 17 June.

‘How to Succeed in Business Without Really Trying’ is a comic gem that took Broadway by storm in 1961, winning both the Tony Award for Best Musical and a Pulitzer Prize. It boasts an exhilarating score by Frank Loesser – one of America’s great composer/lyricists, also responsible for ‘Guys & Dolls’ (currently a massive hit at the Bridge Theatre) – including ‘I Believe in You’, ‘Brotherhood of Man’ and ‘The Company Way’.

A satire of big business and all it holds sacred, it follows the rise of J. Pierrepont Finch, who uses a little handbook called How to Succeed in Business without Really Trying (voiced in the Southwark production by Michelle Visage of ‘Ru Paul’s Drag Race’ fame) to climb the corporate ladder from lowly window washer to high-powered executive, tackling such familiar but potent dangers as the aggressively compliant “company man”, the office party, backstabbing co-workers, caffeine addiction and, of course, true love.

Joining the previously announced Tracie Bennett, who will play the male role of  J.B. Biggley, President of the World Wide Wicket Company, are:

Annie Aitken (she/her) as Hedy LaRue.
An Australian music theatre leading lady, Annie’s many leading roles include Millie Dumont in ‘Thoroughly Modern Millie’ opposite Marina Prior, and Cunégonde in ‘Candide’ at the Sydney Opera House opposite Caroline O’Connor, Paulette in ‘Legally Blonde the Musical’, Nellie Melba (lead role) in ‘Melba: A New Musical’ and the original cast of ‘Muriel’s Wedding the Musical’. In the UK she was Madame in ‘Rodgers & Hammerstein’s Cinderella’ at Hope Mill Theatre.

Taylor Bradshaw (he/him) as Mr Bert Bratt.
Taylor was in the recent acclaimed production of ‘Spring Awakening’ at Almeida Theatre and ‘42nd Street’ at Théâtre du Châtelet, Paris. He will be seen in the upcoming ‘Barbie’ feature film.

Allie Daniel (she/her) as Rosemary Pilkington.
Allie’s recent credits include ‘Legally Blonde the Musical’, directed by Lucy Moss at Regent’s Park Open Air Theatre, ‘Happy Meal’ (Theatre Royal Plymouth), ‘Priscilla Queen Of The Desert’ (UK tour), and ‘Rent’ (Hope Mill Theatre).

Gabrielle Friedman (she/they) as J. Pierrepont Finch.
A recent graduate of the Royal Academy of Music, Gabrielle was in the ‘Stephen Sondheim’s Old Friends’ West End gala and ‘Maria & Friends: Legacy’ (Menier Chocolate Factory). While training she played Mary Flynn in Sondheim’s ‘Merrily We Roll Along’.

Elliot Gooch (he/him) as Bud Frump.
Elliot’s recent credits include Dorian Gray in ‘Dorian: A Rock Musical’ (The Other Palace), 1st Cover Danny & Kenickie in ‘Grease’ (UK tour), ‘Once On This Island’ (Southwark Playhouse). He can be see in the film ‘All Those Things’.

Grace Kanyamibwa (she/her) as Miss Jones.
A recent graduate of Mountview Academy of Theatre Arts, Grace’s credits include ‘The Book of Mormon’ (UK tour). While training she played The Player in ‘Pippin‘ and Rose in ‘Gypsy’.

Danny Lane (he/him) as Mr Twimble/Mr Wally Womper.
Danny recently appeared in the West End as Dating Agency Agent  in ‘Only Fools and Horses the Musical’. He was Comptroller Schub in ‘Anyone Can Whistle’ (Southwark Playhouse), ‘Soho Cinders’ (Charing Cross Theatre) and Kris Kringle in ‘Miracle on 34th Street’ (UK tour).

Milo McCarthy (they/them) as Mr Milton Gatch.
A recent graduate of Italia Conti Academy of Theatre Arts, Milo recently toured the UK as Billy in ‘Birds and the Bees’, and was in ‘Rodger’s and Hammerstein’s Cinderella’ (Hope Mill Theatre). While training they played the title role in ‘Pippin’.

Verity Power (she/her) as Smitty.
Verity’s recent credits include ‘Trump L’Oeil’ (Upstairs at the Gatehouse), Marilyn Monroe in ‘Blonde’ and ‘Zombies: The Musical’ (The Other Palace)

Tracie Bennett (she/her) as J.B. Biggley
Last seen in London as Carlotta in the National Theatre production of ‘Follies’, Tracie recently played Alice in ‘Hangmen’ on Broadway and starred as Mame in ‘Mame’ at Hope Mill Theatre. She is also well known for playing the role of Sharon Gaskell in ‘Coronation Street’ from 1982 to 1984, returning to the role in 1999 and again in 2021. Among her many musical theatre starring roles, she received two Olivier Awards for Best Supporting Role in a Musical for her performances in the musicals ‘She Loves Me’ and ‘Hairspray’ with additional nominations for her work in ‘High Society’ and ‘Follies’. She was also nominated for the Olivier Award for Best Actress in a Musical as Mrs Henderson in ‘Mrs Henderson Presents’, while her performance as Judy Garland in ‘End of the Rainbow’ earned her an Olivier nomination for Best Actress in a Play and a Tony Award nomination in the same category when the production transferred to Broadway.

Creative Team:
Director Georgie Rankcom (they/them)
Choreographer Alexzandra Sarmiento (she/her)
Musical Director Natalie Pound (she/her)
Set and Costume Designer Sophia Pardon (she/her)
Lighting Designer Lucía Sánchez Roldán (she/her)
Sound Designer Joshua Robins  (he/him)
Orchestrator Stuart Morley (he/him)
Stage Manager Waverley Moran (she/they)
Production Manager Misha Mah (they/them),
Casting Director Peter Noden (he/him)
Producer / General Manager Jodee Conrad (she/her).

LISTINGS INFIO

Big Con Productions and The Grey Area
present

Frank Loesser and Abe Burrows’

HOW TO SUCCEED IN BUSINESS
WITHOUT REALLY TRYING

Music & Lyrics by Frank Loesser
Book by Abe Burrows, Jack Weinstock
& Willie Gilbert

Based on the novel by Shepherd Mead

Southwark Playhouse (Borough)
77-85 Newington Causeway,
London
SE1 6BD

12 May – 17 June 2023

7:30pm Mon-Sat
3pm Tues & Sat

Tickets
£16 Previews
£28 Concessions
£35 Standard

Social Media:

Twitter/Instagram/ TikTok
@SucceedLDN

Originally presented by Cy Feuer and Ernest H. Martin in association with Frank Productions

Presented by arrangement with
Music Theatre International

St Helens Theatre Royal – until 26th April 2023

Reviewed by Jen Daley

5*****

Regal  Entertainments Ltd are nominated four times at this week’s Pantomime Awards in London. And with their production of Beauty and the Beast at St Helens Theatre Royal this Easter, it’s easy to see why.

Writer Liam Mellor’s story hits all the main plot points you’d expect from the classic children’s tale, but weaves in elements of other fairy-tales and panto must-haves with Maria Lovelady’s ultra-northern Fairy Rose filling the role of narrator and fairy godmother. It also sees a hilarious return to the Theatre Royal of Lewis Devine with his high-energy, slapstick performance as French Frank having the kids bawling with laughter, and enough double-entendres to keep the grown-ups on their toes! If you’re in the front rows Frank WILL get you involved, and the frog scene had me roaring with laughter.

Lauren McCrory gives an excellent Belle with a wonderful voice befitting the Disney Princess. Benjamin Keith gives two very distinct performances as the foppish Prince and bad-tempered Beast. Abigail Middleton’s enchantress Madame Botox was deliciously villainous, with a highlight being her rendition of I’ll put a spell on you worthy of the Sanderson Sisters.

It wouldn’t be a pantomime without a dame, and Richard Acout’s experienced performance as Potty Polly is everything you’d want in one – brash, rude and gloriously OTT.

The standout performance for me was Auguste Voulton as Gaston. He’s the conceited, abrasive antagonist you expect, but with added cowardly mummy’s boy as Madame Botox’ son. Voulton chews the scenery in the best possible way and with so many bicep flexes and lunges you can’t keep your eyes off him. Pure Rik Mayall / Lord Flashheart vibes – Woof!

Regal Entertainment’s production is second-to-none. The set design and costumes are outstanding, and special mention must go to Nazene Langfield’s choreography and the dancers from Dynamix, who had my little one pirouetting all the way back to the car.

Beauty and The Beast is the perfect family night out this Easter. So much fun, so much laughter. I can’t wait for Aladdin in December!

Royal Shakespeare Theatre Stratford-Upon-Avon – until 8th April 2023

Reviewed by Amarjeet Singh

4****

Shakespeare’s timeless political thriller, Julius Caesar, tells a woeful tale of a group of Roman senators who plot to assassinate Caesar as they fear his growing power and ambition. Brutus joins a conspiracy led by Cassius to assassinate Caesar, to prevent him from becoming a tyrant. Despite warnings from a soothsayer and the dreams of his wife, Caesars defiance results in his betrayal and he is overthrown. The aftermath leads to a power struggle in Rome as the conspirators are hunted down by those who seek justice for Caesar.

Julius Caesars arresting opening, with sinister music, lupine shrieks, projections depicting disturbing monochromatic images and unsettling dance, sets the tone for a haunting and raw experience. In director Atri Banerjee’s bold interpretation, you will not find anything traditionally Roman, no togas, laurel wreaths or sandals. This is a modern, minimalist, moody take on the machinations and misdeeds of men… and in this production, women.

Still controversial to some, the decision to cast actors regardless of their gender is completely validated. Thalissa Teixeira played Brutus with a clarity and conflict which brought layers to the performance. When presented with the task of killing for one’s beliefs and the greater good, she is tormented. Her character unfolds as things unravel yet her dignity never waivers. Tonight, Cassius was played by Annabel Baldwin. They usually play the role of Soothsayer, but due to the indisposition of Kelly Gough, they slotted seamlessly into the role. Baldwin’s Cassius was persuasive and powerful, but in an understated way, building in increasing emotional despair as the play progressed. There was a beautiful moment when the two, faced with impending defeat, alone on stage, connected and delivered a performance so powerful, I was dumbstruck for a moment.

Gina Isaac’s Decius was deliciously deceptive. The charismatic combination of cunning and charm was played to perfection. A standout was Ella Dacres as Octavius Caesar. Poised, measured and commanding, every word she spoke held gravitas.

William Robinson was a youthful Mark Antony and played him with a fiery verve. He delivered the ‘Friends, Romans, countrymen’, speech to perfection and he combined well with Dacres to play the grief stricken right handman of Caesar. Jamal Ajala’s Lucius performance and his interactions with Brutus and Portia was amongst the production’s most original moments. He doesn’t speak throughout the play and instead uses sign language. This added an interesting dimension to the performance as a whole.

This production of Julius Caesar is a seriously stripped-down performance, focusing more on the connection between characters than on elaborate costume, props and sets. The main set consists of a revolving cube. On one side is a wall which images are projected upon, the internal structure of the cube shifts but is sparse, the characters give these spaces meaning and context. For the slaying of Caesar, hands replace blades and black fluid is blood. A stained shirt is left in place of Caesar’s dead body and the rest is left to our imagination.

This production is creative and original but there are some areas which leave room for improvement. The consequences of plotting and conspiring against Caesar was lacking and rushed. It was missing the clarity needed to understand the motivations of the conspirators whose actions are pivotal to the narrative. This may be, in part, because the portrayal of Caesar did not convey his mass appeal, power, and despot spiralling. Without those fundamental underpinnings the rest of the play can come across as confusing to audiences.

This aside, the production is dynamic and refreshing. Atri Banerjee’s directorial debut for the company is a brave, brilliant and bold experience, bringing this 400-year-old play bounding on to the stage in a way that has never been seen before but is most definitely a must see.

Julius Caesar is on a 9 date UK Tour:

Thursday 20 – Saturday 22 April, The Marlowe Theatre, Canterbury

Tuesday 25 April – Saturday 29 April, Hall for Cornwall, Truro

Tuesday 2 May – Saturday 6 May, Alhambra, Bradford

Tuesday 9 – Saturday 13 May, Theatre Royal, Newcastle

Tuesday 16 – Saturday 20 May, Grand Theatre, Blackpool

Tuesday 23 – Saturday 27 May, Theatre Royal, Nottingham

Tuesday 6 – Saturday 10 June, Theatre Royal, Norwich

Tuesday 13 – Saturday 17 June, York Theatre Royal

Tuesday 20 – Saturday 24 June, The Lowry, Salford

Liverpool Epstein Theatre – until Sunday 16 April 2023

Reviewed by Jen Daley

4****

What an Easter treat for the whole family this Easter Panto was!

The whole cast gave in 100% to whip up the (initially, lukewarm!) crowd into an old school panto frenzy!  Kudos must go to Chester the Jester (Reece Sibbald) and Dame Queenie (Mark Two) for mastering this so adeptly with their adlibs and tremendously troublesome tongue twisters. The lively, topical and funny script treads familiar family friendly ground but no panto would be complete without a quick-fire double entendre for the adults! 

Costumes, hair and make- up were second to none and the multiple Queenie costumes were a sheer delight. Yes Queenie, I do like y’gear!

The sound engineering and lighting were not taken for granted by this reviewer. Faultless throughout. Always standing by for any freestyling that may happen.

Choreography and dancers (Nazene Langfield & dancers from Dynamix) were a step above and beyond a regular panto ‘step, kick, twirl’ effort. These routines were delivered with flair, precision, skill and a heck of a lot of panto pizazz!

Faultless too, were the musical arrangements (Callum Clarke) in this production. Nothing here from these well-known songs felt shoehorned in and the cast all shone in their musical numbers, especially Carabosse (Rachael Wood)   whose voice was phenomenal…for a villain!  

An all-round ideal Easter Extravaganza for the whole family. We were all hoarse from laughing, screaming and booing! Will you be disappointed? Oh no you won’t!

Hull New Theatre – 7th April 2023

Reviewed by Dawn Bennett

5*****

Dada Masilo’s The Sacrifice was performed at Hull New Theatre last night. Inspired by Pina Bausch’s the Rite of Spring and Igor Stravinsky’s score.

The all-South African cast were magnificent in their portrayal of the struggle of the sacrificial victim which was danced by Dada Masilo.

The production is a mixture of contemporary and traditional Tswana dance. The movement made by the dancers was so moving and powerful accompanied by musicians Leroy Mapholo, Mpho Mothiba and Nathi Shongwe, who were brilliant and who had composed the original score. Ann Masina (an opera and gospel choir singer) was such a magnificent singer. I would run out of superlatives to describe her voice and powerful stage presence. Her part as the mother who sacrificed her daughter was heartbreaking at times and you could hear a pin drop in the theatre.

The set was plain with bare trees as the backdrop and the musicians were on stage interacting with dancers, there was sometimes music, sometimes clapping, stamping of feet and signing which accompanied the dancers as they told the story of ritual, atonement and ritual.

All the cast of this amazing production seemed to dance as one. From the joyous rhythms to the deeply moving sacrifice. There were whole cast numbers, duets and solos and all the time they captured the audience’s attention. Dada’s magnificent chorography was something to be seen and simple stunning and her dancing was heartfelt.

We were also treated to a Q and A after the performance with Dada, Lerory Mapholo (musician) and Tshepo Zasekhaya (dancer) hosted brilliantly by Darren Lethem. The questions were asked by some of the very knowledgeable audience and allowed the cast to explain the dance in more detail.

I would thoroughly recommend this glorious piece of dance theatre.

Grand Opera House York – until Saturday 15th April 2023

Reviewed by Michelle Richardson

4****

I must that Chitty Chitty Bang Bang was a big part of every Christmas when I was younger. It was always showing on the telly, and it wasn’t Christmas without us watching it. As I got older, I watched it with my children and even though I might not catch it every year, it has great memories for me. I was looking forward to seeing the show, to see if it could live up to expectations.

The show centres around widowed Caractacus Potts, a crazy inventor of all things wacky and sometimes wonderful. Caractacus (Ned Sproston) is persuaded by his two adorable children, Jeremy (Logan Wilstrop) and Jemima (Hope Day) to rescue a forming racing car from being scrapped. On their first trip out the family name the car Chitty Chitty Bang Bang, because of its unique engine noise. They bump into the beautiful Truly Scrumptious (Carly Morton), who then joins them in their adventures. Along the way there are baddies aplenty, from Vulgaria, chasing Chitty and crew, kidnapping Grandpa Potts (Mick Liversidge).

Carly really has a beautiful voice, and she encompassed her role as Truly. Her and Ned shared a great rapport. The performances by Logan and Jemima, who share their roles with Esther De La Péna and Eady Mensah, were wonderful, with strong acting and vocal skills, a huge credit to them both.

The two Vulgarian spies, Boris (Jack Hooper) and Goran (James Robert Ball) really steal the show with their antics and were my standouts. Their comic timing was priceless and had us all in stitches, I would love to see them again, what a double act. Hot on their heels, another great comedic pairing of the Baron (Alex Papachristou) and Baroness (Jackie Cox). They were so over the top as the pampered childlike Baron and the child hating, wicked Baroness.

The production had a large supporting cast, both adults and children, who sang and acted with gusto. I must also mention Richard Barker’s gigantic, ankle breaking stilettos as the dastardly Childcatcher. Kudos to him managing to walk on them, I couldn’t help but cringe when I saw him walking with them on his feet, what a feat.

Chitty was truly wonderful and so magical. To see it flying on the stage was a sight to behold, worthy of any professional production. The wonder on the audience faces was a sight to behold. With the hair and makeup, live orchestra and professional set, York Stage do really excel in putting on such a show.

I saw this opening night and though there were a few technical and teething problems, this was just a blip. Chitty Chitty Bang Bang is full of music, laughter, with some adult humour and innuendos, which went over younger heads, and occasional boos, in all the right places. A true mixture of madness, mayhem and magic.

York Stage have once again created a fabulous show that is a truly scrumptious Easter holiday treat for the whole family.

Cambridge Arts Theatre, Cambridge – until Saturday 8th April 2023

Reviewed by Steph Lott

5*****

Vivie Warren (Rose Quentin), a thoroughly modern young woman, has just graduated from the University of Cambridge, with honours, in Mathematics. Her mother, Mrs. Kitty Warren (Caroline Quentin) has arranged for Vivie to meet Mr. Praed (Stephen Rahman-Hughes), at the cottage where Vivie is staying. Mrs. Warren arrives with her business partner, Sir George Crofts, (Simon Shepherd). He is attracted to Vivie despite their 25-year age difference. Vivie is romantically involved with the youthful Frank Gardner (Peter Losasso), who sees her as his meal ticket. His father, the (married and slightly disreputable) Reverend Samuel Gardner (Matthew Cottle), has a history with Vivie’s mother. The scene is therefore set for some social fireworks!

Vivie has come home to get acquainted with her mother for the first time in her life. Vivie knows very little about her mother, especially how Kitty earned her money and paid for Vivie’s upbringing and education, which was through running a successful chain of brothels.

I found this an excellent thought-provoking play. Its themes are as powerful now as when they were written and leave us uncomfortable. Kitty argues her case very plausibly to Vivie that she entered prostitution to escape poverty. However, Vivie is appalled when she discovers her mother is now still running a Europe-wide trade with Sir George Crofts. Whilst the play is set 100 years ago, there are queasy similarities between Kitty’s brothels and modern-day trafficking rings.

Caroline Quentin gives a storming performance as Mrs Warren. Although there is a whiff of Ab Fab’s Edina about her at times when she is sparring with her daughter (especially in Act 1) there is a robust edge to her portrayal of Kitty. The genteel mask occasionally slips, and her Cockney origins appear. Quentin exudes charm and is fascinating as the complex, sometimes manipulative Kitty. Rose Quentin has a straighter, flatter part to play, and she does so very competently, providing an excellent contrast to her mother. There is a powerfully dramatic mother-daughter showdown at the end, with both giving fine performances. We feel sorry for them both.

The male characters are much less red-blooded than Kitty and Vivie and are all hypocritical in their ways. However, Simon Shepherd is excellent as the smarmily obnoxious Sir George Crofts, and I found Peter Losasso’s portrayal of the nauseating Frank equally splendid. None of the men are likeable (except perhaps Praed?)

The scenery is beautiful and quirky, as designed by David Woodhead, and evokes English summers and quiet villages. The curtain rises on a rural Surrey scene, picture perfect but oddly out of proportion. There are large expanses of sky in addition to a teeny tiny cottage which is rather distracting and comic as it’s like a Wendy house! There’s also an odd lopsided church which is perhaps in keeping with its eccentric Vicar! All together though I thought it was beautiful. Anthony Banks’ production rattles along nicely and looks terrific. The cast are very competent and comfortable with portraying Shaw’s moral dilemmas, which are as intriguing as ever. Shaw’s frank discussion of prostitution — Mrs Warren’s profession — still packs a punch today, as does its criticism of a hypocritical society and the conflict between the pragmatic Kitty and her morally upright daughter Vivie.

PEN INTERNATIONAL

ANNOUNCES PARTNERSHIP WITH THE NEW WEST END PRODUCTION OF
MARTIN McDONAGH’S ACCLAIMED PLAY

‘To shine a light on freedom of expression & writers at risk’

Partnership between PEN International and The Pillowman features:

Support by award winning writers, including Burhan Sonmez, Mona Arshi, Yann Martel and Ben Okri

Post-show Q&As and essays on the broader theme of freedom of expression and PEN’s work in support of writers at risk

Partnership announced as censorship of writers and freedom of expression is making front page news

PEN International, which has been promoting literature and defending freedom of expression worldwide since 1921, announced today a unique partnership with the West End production of multi award-winning Martin McDonagh’s electrifying play The Pillowman.

With the freedom of writers and debates around censorship making front-page news, PEN International have confirmed a series of events and initiatives to shine a light on the themes that McDonagh’s acclaimed play examines.

Lily Allen plays a writer (Katurian) in a police state who is interrogated about the content of her short stories and their similarities to several murders occurring in the town. The production will run at the Duke of York Theatre in London from 10 June to 2 September 2023, with a press night on 21 June.

Burhan Sonmez, acclaimed writer and President of PEN International said:  ‘This captivating play examines the role of the writer in society and reflects on the price paid for exercising the right we all have, to freedom of expression. At PEN, we are proud to be working with this production of The Pillowman, and participate in this ambitious project that supports many of the values we promote such as the need for tolerance, critical thinking and informed debate.’

James Bierman producer of The Pillowman  commented: ‘All of us involved in The Pillowman are honoured to work with Pen International, which since its inception in 1921, has worked with writers across the world who are persecuted for putting their ideas into words. These writers rely on PEN International to stand up for their right to freedom of expression, and we hope that by joining forces, we can help shine some light on their important work.  With the growing number of writers under attack, PEN’s mission today is more vital than ever. In the real world it would be PEN who would be campaigning for Katurian’s release and so it’s important we then use  the platform of the play to  campaign for them.’

Yann Martel, internationally renowned author of Life of Pi and a member of PEN International’s Writers Circle said:  ‘Theatre has the power to change things for the better, and with this exciting partnership between PEN International and the new production of The Pillowman, the light will shine more brightly on the freedoms essential to writers and artists around the world.’

Acclaimed author and also a member of PEN International’s Writer’s Circle, Ben Okri, added: ‘How governments handle dissenting voices is often a measurement of how they handle human freedoms at large. This partnership honours all writers and artists silenced for simply expressing their views peacefully, and sends a powerful message in their support, everywhere – at a time when freedom of expression is increasingly under threat.’

Throughout the production, the collaboration, sees a series of activities featuring the participation of award-winning writers:PEN International President Burhan Sonmez, as well as PEN’s friends and supporters Mona Arshi, Yann Martel and Ben Okri, among others. These include three post-show Q&As and essays about the role of the writer in contemporary times, resonating and compounding the themes of the play – as well as PEN’s guiding principles and work- on freedom of expression and imagination, and on how writers have often been looked upon to critically engage in what makes us human.

With an all-star cast including Lily Allen, Steve Pemberton, Paul Kaye and Matthew Tennyson,  Matthew Dunster directs the first major revival of Martin McDonagh’s Olivier award-winning play at the intimate Duke of York Theatre in London.

For more information about PEN International visit:  https://www.pen-international.org/

For more information about The Pillowman in the West End visit www.pillowmanplay.com 

Soho Theatre, London – until 22 April 2023

Reviewed by Celia Armand Smith

4****

Sap has ancient Greek mythology running through it right from the roots, to the tips of the leaves. Inspired by Ovid’s Metamorphoses, Sap tells the story of Daphne (though she is never named out loud in the play), a bisexual woman in her thirties navigating life, which includes a job at a women’s aid charity.

The play starts with a work event that a colleague asks her to attend. The kind of charity lunch where you’re sent to schmooze rich people to encourage donations toward your work. Daphne meets a man, an ordinary man, and after some flirting across the table they go their separate ways. But inevitably, and with some help from outside, they meet again and one thing leads to another. Until this point, Rafaella Marcus’ writing is upbeat and jovial, and then suddenly there is glimmer of what is to come.

Daphne then meets a woman at a lesbian bar, and she is everything – “a wonder woman”. However, she doesn’t date bisexual women, and when asked, Daphne decides to keep her true sexuality a secret. This secret soon starts to envelope her, and she begins to transform with roots digging into the ground, and bark enclosing her skin. An act of self preservation as a connection between the woman and the man becomes apparent, and he becomes ruthless and more menacing in his pursuit of her.

Jessica Clark is playful and frantic as Daphne, changing emotion and pace at the drop of a hat. The words flow like a poem, full of hope and heartache. Rebecca Banatvala is all the other characters in the piece, showing her considerable range and masterfully swapping roles so you are never confused about who is present. There are moments where you want to shout TELL THE TRUTH because the torment and the anguish becomes too much to bear.

Under direction from Jessica Lazar, the characters use every inch of the simple reflective stage, movement and words intertwining. The description of Daphne’s transformation into a tree is so visceral that it feels as if your fingers and toes are about to explode with branches and leaves. Towards the end, there are sobering statistics about the abuse that bisexual women face at the hands of their partners. This is a original and powerful play that weaves myth with reality, and lingers far beyond the walls of the theatre.

Union Theatre – until 22 April 2023

Reviewed by Claire Roderick

4****

This wonderful revival is guaranteed to leave you with a warm and fuzzy feeling. Twelve years since its West End run, Betty Blue Eyes is back in the more compact Union Theatre.

Based on Alan Bennett’s A Private Function, the eccentric, parochial inhabitants of a Yorkshire town in 1947 are struggling through rationing and austerity whilst being promised Fair Shares For All by the government. Of course, those in power in the town don’t think this applies to them and have an illegal unregistered pig, Betty, to feed the great and the good they have invited to their very private function celebrating the wedding of Princess Elizabeth. Their snobbery and entitlement pushes mild mannered Gilbert Chilvers (Sam Kipling) and his wife Joyce (Amelia Atherton) over the edge when he is refused a lease on The Parade because he is just a chiropodist, and the couple steal the pig as revenge. Also searching for clandestine meat, and arresting any butchers bending the law, is Inspector Wormold (David Pendlebury), who enjoys his work a little too much.

This very English story is full of ridiculous characters and situations, and Ron Cowen and Daniel Lipman’s book fizzes with great lines and laughs. Add music and lyrics by Stiles and Drewe and the show positively sparkles. As ever, Stiles and Drewe’s work adds multiple layers to the characters and plot, stirring the heartstrings as the music sweeps you along, nowhere more than in the Chilvers’ contrasting numbers – A Place on the Parade, where they both dream of a bright future, Nobody, Joyce’s defiant shout at the world, and The Kind of Man I Am, Gilbert’s gorgeous ballad accepting himself as he is. Sasha Regan directs with great heart and skill while Kasper Cornish’s choreography fits more onto the tiny stage than should be possible.

Atherton and Kipling are a joy to watch as the Chilvers, both being blessed with the most expressive faces and able to get laughs with the raising of an eyebrow. The performances are all very 1970/80’s Northern sitcom, which is perfect for this material. Atherton’s frustrated social climber has shades of Thora Hird and Thelma from The Likely Lads, while Kipling’s man with the magic fingers is a delightfully unassuming hero – and their voices are fantastic. The entire cast give their all, full of energy and humour, and you can’t help but smile, especially when Betty herself takes the stage – a floral quilted bundle of cuteness set snuffling around the front row’s feet by puppeteer Georgia Boothman.

Betty Blue Eyes is a joyful and eccentric show crammed with memorable songs – and creative uses for Spam – grab a ticket while you can.