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Lyric Hammersmith, London – until 8 April 2023

Reviewed by Celia Armand Smith

5*****

In the 50 plus years since Accidental Death of an Anarchist was first written (based on true events) by Dario Fo and Franca Rame, it has remained relevant. The story is one of chaos, collusion, and lies.

A man, known only as a The Maniac, is being questioned by the police for fraud when he realises that this is the very same police station where an alleged anarchist fell to their death from a fourth floor window. A force of nature and arch fraudster, he seizes the moment and infiltrates the police using a bag a cunning disguises and props to get to the bottom of what happened that fateful night, and unpick the layers of a possible/probable police coverup.

Always a performer, The Maniac pretending to be a high court judge with the help of some talc in the hair and a pair of half moon glasses, conducts the chaos with precision, getting everyone to do just what he wants. The police officers’ stories begin to unravel and the action becomes increasingly absurd. For a moment you think this is ridiculous and then you remember what’s in the news everyday and it’s a laugh or cry situation. As the director Daniel Raggett says, “the comedy leaves you with a seed of anger – and send you home still thinking about the issues”.

Adapted for 2023 by Tom Basden, it takes aim at the current government and their policies on immigration and taxation, and the Metropolitan Police and their decisions. Daniel Raggett’s production is extremely funny and the action happens at such a pace, you hardly notice that any time has passed at all. Supremely farcical and pantomime-esque (though never tell The Maniac, he would hate that), the hilarious script is brought to life by a brilliant cast. Daniel Rigby as The Maniac is a comedic tour de force, using every single part of Anna Reid’s clever set including the walls and the furniture to lampoon the Met, charming the audience (fourth wall? What fourth wall?) and the police officers with a manic grin and cheeky wink. By the end of the first act, he has convinced the officers that he’s an ally, persuading them to join him in chaotically singing the Italian anti-fascist folk song ‘Bella Ciao’.

By the beginning on the second act, they are uplit like Queen in Bohemian Rhapsody and singing in perfect harmony. Tony Gardner and Jordan Metcalfe play the hapless officers Superintendent Curry and Detective Daisy, playing into the mania orchestrated by The Maniac with hilarity. Howard Ward as Inspector Burton is resistant to change and not fooled by the intruder but powerless to stop him. The whole cast is sensational, and with direction from Daniel Raggett, there is never a slow moment.

This overtly theatrical production makes you laugh, but you walk away with a feeling of discomfort that lasts the entire journey home. It was hilarious but it was also really real. As you leave the theatre there are hundreds of tally marks covering the set, a stark reminder of how many people have died in police custody in recent times. It’s a fantastic show, and one that will stay with me for a long time.

Theatr Clwyd, Yr Wruddgrug – March 18th 2023

Reviewed by Julie Noller

5*****

If Google or Wikipedia were available as 3D images and not restrained to phones and laptops then Edith fits that bill exactly, it appeals to those with a love of knowledge, history and true crimes. The work of award winning theatre company Crowded Room who specialise in productions based on true stories designed to get people talking; exploring the criminal justice system, mental and physical health.

Written by Harriet Madeley and Directed by Madelaine Moore, Edith explores a century old crime. In 1922, 28 year old Edith Thompson was tried for inciting her husbands murder; twelve members of the British public only one of whom was female would decide if she lived or faced the gallows. As we are informed from the outset this is a play based on the court transcripts, it has delibrately been shortened into snippets obviously as a week long play might be too much for most of us.

The cast of 5 are brilliant taking on different witnesses/ accused with differing accents to boot from Ivy Corbin as Edith an emotional women not wanting to grow older sometimes tearful its obvious she lives a life of escapism. Mark Knightley is Percy (the victim) and also our Judge. Percy is a man of the era, escaped the war due to heart issues some would say he dominated his wife but that is apparently hearsay, he is jealous his wife does not adore him. Peyvand Sadeghian is Freddy Edith’s potential lover, eight years her junior and perhaps eager to please. In opposing corners we have Harriet Madeley (our writer) for Defence and Rose-Marie Christian for the Prosecution.

Each court day is broken up with a short three minute interval accompanied by the kind of easy listening music you find irritating whilst on hold. It is not entirely a serious affair there are flashes of humour such as repeating please be upstanding for the Judge until we did all actually stand up. On the four screens behind the actors we see snippets played testimonies of witnesses and the faces of Edith and sentences of those letters written to Freddy which way would you sway if you were one of the twelve jurors?

It highlights just how information is given can alter your perception. Not forgetting the era 1922 just a few years after the end of the Great War, men wrote the rules and women were not meant to break them. Such a great concept that could be used to showcase many crimes that have been committed over the years. As the play was beginning those screens flashed many females we have witnessed being tried for crimes they may or may not have committed. There was disdain for the likes of Myra Hindley and an inhale of breath for local nanny Louise Woodward. Are these women we see before us cold calculating criminals or harassed women snapped and the puppets of the men in their lives. These are the questions we are faced with thanks to Edith and I really don’t know what I believe.

Fantastic concept that really shakes up your inner most thoughts and feelings I encourage anyone if you have true faith and confidence in our justice system to go along and witness that faith shaken to the core. You know the actual 1922 outcome but will you agree?

West-End stars gather for The Olivier Awards 2023 with Mastercard Nominees’ Celebration at The Londoner hotel

Today, on Friday 17 March, the Olivier Awards 2023 with Mastercard hosted their Nominees’ Celebration, in partnership with Cunard at The Londoner hotel, the world’s first super boutique hotel in the heart of London’s theatre district.

Notable nominees such as Rose Ayling-Ellis, Beverley Knight, Rob Madge, Rafe Spall and Giles Terera were in attendance, among many of the other nominated theatre makers.

Guests were served a light afternoon tea complemented by Taittinger champagne and Cunard macarons, whilst mingling and meeting fellow nominees.

During a short presentation, the co-CEOs of Society of London Theatre, Claire Walker and Hannah Essex, and President Eleanor Lloyd, honoured the recipients of the Industry Recognition award. The four winners include casting director Pippa Ailion; Andrew Bruce, founder and Chairman of Autograph Sound Design; Amanda Parker, founder and former Director of IncArts UK; and finally Executive Chairman & joint Chief Executive of PW Productions Peter Wilson.

The presentation also honoured the winners of this year’s Laurence Olivier Bursary. The scheme has been run by the Olivier Awards since 1987, supporting exceptional talent facing financial difficulties in their final year of drama school. Previous bursary winners have included Michaela Coel, Ewan McGregor and Michael Sheen.

This year’s Laurence Olivier Bursary winners:

Daniel Apea

Allie Aylott

Rebecca Bell

Christian Cooper

Neeve Dilworth

Conor Doran

Aimee Ebsworth

Jasmine Elcock

Charles Kofi Afedzi Entsie

Melodie Karczewski

Emily Kathryn

Yasemin Mutlu

Eliza Parry-Williams

Liam Prince-Donnelly

Abdul Sessay

Lindo Shinda

James Taheny

Eve von Elgg

Shannon Watson

The Olivier Awards will take place on Sunday 2 April at the Royal Albert Hall, hosted by Hannah Waddingham. The highlights will be shown on ITV that same evening.

Claire Walker and Hannah Essex, co-CEOs, of SOLT said:

“We were delighted to meet so many of our honoured guests at this afternoon’s event, which has only made us more excited to celebrate their achievements once again at the upcoming ceremony when the winners will be revealed.

“It was an honour to present our recipients with their Industry Recognition awards and recognise their outstanding contribution to the theatre industry. It was wonderful to see our nominees, partners and members coming together to celebrate so many fantastic achievements.  

“And finally, congratulations to the Olivier bursary winners. We are grateful that, once again, we are able to support emerging talent in the industry during such a crucial stage in their careers.”

Crucible Theatre, Sheffield – until 1st April 2023 (Transferring to Lyric Hammersmith 15th April – 13th May)

Reviewed by Carol Crann

4****

Originally written in 1941 by Bertolt Brecht, The Good Person of Szechwan was first performed in 1943 – and this year celebrates its 80th birthday with an update by Nina Segal.

It tells the story of three gods (Callum Coates, Nick Blakeley and Tim Samuels) who come to earth in disguise in order to find a good person in an impoverished village, and thereby save the earth from the apocalypse.

Along the way they met a poor water seller Wang (Leo Wan) who immediately recognises them for what they are… He tries to help them find accommodation with his friend Shen Te, played by Ami Tredmea, a young prostitute trying to lead a good life, but who is constantly having barriers put in her way by those around her. Particularly when a gift from the gods raises her status, albeit temporarily.

In desperation she resorts to portraying an alter ego – pretending to be her cousin. In that guise she has a different set of morals, which leads her down a completely different path as the demands of the reprobates who surround her increase even further.

We were greeted by a very unusual set which promised a unique approach to the play – and really didn’t disappoint. A fuchsia ramp either side of the stage provides some extremely entertaining entrances from the cast, and curtains made of long cylindrical tubes made up the backdrop and also added to the atmosphere by clever use of lighting. Three sides of the stage were ball pools filled with either black or white balls, and provided their own elements of surprise throughout the show.

The Good Person of Szechwan is full of humour, some of which is quite ribald, but was clearly appreciated by the audience. It was also peppered with the occasional musical number performed with great enthusiasm. This thought provoking and updated version of an old play was well received by the audience, who made sure to show their appreciation for an entertaining performance.

Menier Chocolate Factory – until 6 May 2023

Reviewed by Claire Roderick

3***

A stellar cast elevates Jordan Harrison’s thoughtful play about memory and truth in Dominic Dromgoole’s slick production.

In the near future (85 year old Marjorie (Anne Reid) was born in 1977, making her cultural references comedy gold), a company called Senior Serenity provides a care package for the elderly and bereaved with a technological twist. The company provide an AI – a Prime – that can resemble any person at any stage of their life and be programmed with memories to provide companionship and solace to the customer.

Marjorie’s memory is failing, and her physical and mental deterioration has ended her independence, so the presence of Walter Prime (Richard Fleeshman) is a comfort. She has chosen a simulacrum of her late husband in his thirties – the reasons for this become more obvious and emotional as the play progresses). Marjorie knows that the Prime is not her husband, but the memories he can share with her, and the little tweaks she can request to make the stories more palatable/cinematic bring her happiness. Marjorie’s daughter Tess (Nancy Carroll) is suspicious of the use of Primes, but her husband Jon (Tony Jayawardena) feeds memories to Walter and acts as peacemaker between the two women.

The fractured relationship between Tess and Marjorie drives the narrative, as the death of Marjorie’s son and her refusal to speak of it has led to decades of lost trust and anger. Seeing Marjorie relating easily to an AI is almost the final straw for Tess, and the pain, frustration and sense of betrayal is palpable in Nancy Carroll’s brilliantly brittle portrayal. Anne Reid gives a masterclass in acting, effortlessly capturing the confusion and fear of dementia and the warmth of shared nostalgia before flashing sparks of the sharper woman that Tess remembers. Tony Jayawardena excels as the beating heart of the family, overflowing with warmth and desperation to help. Richard Fleeshman is eerily calm as Walter Prime, with the carefully studied movements and intonation of an emotionless mimic. The positioning of the Primes at the side of the stage, unmoving but perhaps still monitoring adds to the sense of uneasiness.

The passage of time means more of the family need Primes, and Anne Reid as Marjorie Prime has the air of a therapist as Tess can finally talk to her mother and feel heard. Jon’s heart-breaking realisation that his Prime is just a mirror and he is talking to himself throws up lots of ideas about unhealthy crutches and our need to share outweighing our need for the truth. Instead, the three Primes have a stilted conversation sharing the family’s preferred versions of memories, with serenely blank pauses. Their shared memories paint a rosier picture of the family than reality, raising more questions about truth in the digital age, but Jon’s epiphany would be more of a gut punch ending.

Marjorie Prime is a gentle, melancholy musing rather than a robust challenge of the possibilities and consequences of technology and ideas surrounding the soul and identity – but the incredible cast and performances are unmissable.

A BRAND NEW PRODUCTION OF

THE AWARD-WINNING SMASH HIT PLAY
THE FULL MONTY
BY SIMON BEAUFOY

TO TOUR THE UK

OPENING AT THE

EVERYMAN THEATRE CHELTENHAM

ON 14 SEPTEMBER 2023

Celebrating the 25^th anniversary of the film, the Everyman Theatre Cheltenham & Buxton Opera House in association with Mark Goucher and David Pugh are delighted to announce a major UK tour of Simon Beaufoy’s award-winning smash hit play THE FULL MONTY opening at the Everyman Theatre Cheltenham on 14 September 2023. Tour schedule below with further dates and casting to be announced soon. www.fullmontytheplay.com

This fast and funny play is still very much of our time, as again we are hit by a cost of living crisis. Gaz and his mates are down on their luck and feel they have been thrown on the scrap heap, but they are determined to fight back and bare a little more than they ever thought they would have to.

As in the 1997 smash hit film, this brand new production is a rollercoaster ride of ups and downs, laughs and heartbreak.

THE FULL MONTY marks the first co-production and partnership between the Everyman Theatre Cheltenham and Buxton Opera House, which recently became an Arts Council National Portfolio Organisation.

THE FULL MONTY is directed by Michael Gyngell, choreography and intimacy co-ordination is by Ian West, Set and Costume design is by Jasmine Swann with Lighting design by Andrew Exeter and Sound design by Chris Whybrow. The Casting Director is Marc Frankum.

New Wimbledon Theatre – until 18 March 2023

Reviewed by Carly Burlinge

4.5 ****

Wimbledon brings you Girl from the North Country. Written and directed by Conor McPherson. With music and Lyrics by Bob Dylan. I must admit being brought up with Bob Dylan as a child and a great fan now, I was very excited to go and watch this production and it certainly didn’t disappoint with 20 of his songs sung with great talent, which were very enjoyable to watch and listen to.

Set in 1934 it tells the story of a small community living in Duluth, Minnesota during the Great Depression. Where Nick (Graham Kent) and his family the Burkes run a guest house.  He finds himself crumbling under the pressure of losing their property, the only thing that feels like a constant. With no money coming in the form, of help from his son Gene (Gregor Milne) who plays a drunkard, useless and incapable individual. His adoptive black daughter Marianne (Justina Kehindle) has fallen pregnant and refuses to disclose any information regarding the father, this only adding  to more panic as he feels he is unable to take care of her now, let alone when the baby arrives.

Justina Kehindle plays a strong character and has an incredible voice in which she shows in ‘Tight Connection to my Heart’   which was outstanding to watch. His wife Elizabeth (Frances McNamee) who seems demented and has lost her mind, comes across nervous and tormented at times but then appears to be larger than life and  back on a mission. She loves to recall tales of her childhood that not everyone wants to hear, making some scenes awkward but also very entertaining and funny at the same time. Frances McNamee plays her character exceptionally well and was fascinating to watch. When she took the stage in a dress the colour of pink whilst wearing sunglasses her vocals were just outstanding as she took on Dylan’s ‘Like a Rolling Stone’ and what a performance it was. All songs had there own version and was executed particularly well along side the band The Howlin Winds together they delivered some spectacular music for all to hear.

With more guests showing up throughout the evening it’s clear that they all have their own stories to tell that bring along with them struggles of their lives, causing heartbreak amongst other things wrapped up in secrets untold. What is there for them to hold in the future or is the struggle to go on?

This was a fabulous production using transparent screening of rooms and landscapes, with detailed lighting to get the audience focused as at times there was a lot going on.  The costumes were kept in line with the times simple but effective.

But for me the songs alongside much talented vocals and the band, made the whole experience a wonderful and beautiful one to watch, listen to and just to take in. If your a fan of Dylan then it’s well worth a watch and even if your not, the show offers much more. One to be seen and not to be missed. I truly had an enjoyable evening out.

The Lyceum Theatre, Sheffield – until 18th March 2023

Reviewed by Sophie Dodworth

4****

Cbeebies, very popular, Hey Duggee is on its first ever tour and touring until August this year. With a short stop at the Lyceum, it is welcomed by a huge audience of kids, all donning their best Hey Duggee clothing, bags and other popular accessories! Hey Duggee is aimed at pre-schoolers mainly so suited to a younger audience and oh my they love it!

This production is very well rehearsed with different aspects to the show, to keep the little ones interested (thankfully) as it is almost an hour long and that hour can be quite long when you are the adult! There are some interactive stickers for the kids on arrival so if they are able to not unstick them straight away then they are used throughout when the children have earned their ‘Duggee’ badge.

The energy is on top form from all the cast that you get to see on stage. They work extremely hard to deliver three shows a day with so much gust involved! The majority are puppeteers controlling their characters. The puppets are well designed with some intricate details to ensure they can provide expressions. The cast are all super talented, providing beautiful singing voices and well-executed choreography by Dannielle ‘Rhimes’ Lecointe-Mosca, which can’t be easy when you have some rather heavy looking puppets to hold or wrapped around some of their body parts (as Duggee is). Duggee is played by Benedict Hastings and he stands out with his indistinguishable Duggee voice, quite comforting in a way and the children love him! Lunga Anele-Skosana plays multiple roles and adapts well in each one. She provides a lot of singing and dancing (as the only person on stage without a puppet) in varying roles fantastically.

The set is designed by Jackie Trousdale and is a real treat. Stand out moments are the space segment, the lights go down and there is a spaceship that lights up, lots of different space related light up objects on the stage, which is visually appealing. Then they introduce the different planets and some of the planets (big bouncy balls) are thrown in to the audience which is really appreciated by the young theatre attendees.

A lovely 55-minute piece of theatre for the younger children: bright, loud and fun, leaving lots of smiles across many faces.

Wilton’s Music Hall, London E1 – until 25th March 2023

Reviewed by Phil Brown

4.5****

Ruddigore or, The Witch’s Curse, is a comic opera in two acts, with music by Arthur Sullivan and a brilliant, witty libretto by WS Gilbert.  Pre-show research hinted it might be a demanding watch.  Its start in life at the Savoy Theatre in January 1887 didn’t go particularly well and it seems to be regularly revised.  The story is a mix of the bizarre and the banal, and possibly out-bards even Shakespeare’s most extreme inventions. 

So I am particularly pleased to report it was fantastic fun –  a delightful and quite entrancing production.  Perhaps the most succinct way to describe it is a highbrow pantomime for “grown ups”, although Director and Producer, Peter Benedict might well disdain such a view.  He must certainly take the credit for creating such an accessible performance.   In his expert hands, the convolutions of plot came across with real comedic clarity, whilst the surreal premise involving bad baronets required to commit a dastardly crime every day, seemed almost reasonable.   There is a wealth of high quality content to absorb in Ruddigore, and a second viewing feels almost obligatory in order to catch any delicious moments missed..

The antique nature of Wilton’s and liberal use of the smoke machine makes a perfect setting for Ruddigore which mostly takes place in the brooding hotel, formerly Ruddigore Castle, in the Cornish village of Rederring.  Clever things occur with the portraits of past baronets that cover the walls.

The main characters are the diffident Sir Ruthven Murgatroyd (well acted by Joe Winter) who has assumed the identity of Robin Oakapple, a young farmer, and Rose Maybud (Madeline Robinson), a village maiden who he wants to woo.  He has a brother, Sir Despard Murgatroyd (the outstanding Peter Benedict) who has inherited  the wicked baronetcy in the apparent absence of Sir Ruthven, and also a foster brother, Richard (call me Dick) Dauntless (Kieran Parrott) who has returned from years at sea on the sloop TomTit, accompanied by two sailor friends, Thomas (Max Panks) and Harry (Edward Watchman). 

Particularly prominent are three relentlessly perky professional bridesmaids Zorah (Ellie Styles), Mercy (Eleanor Monaghan, and Ruth (Rosie Weston) whose yearning for a wedding to take place is barely contained.  Their singing and dancing was absolutely joyous and injected charm and energy when it was most needed.  One of the best moments in the show is in Act One when they engage with the three sailors in a wonderfully choreographed hornpipe.

Alongside the main players are Mad Margaret (Charlie Baptie) who ends up marrying Sir Despard.  She invents the unlikely trigger word Basingstoke for Sir Despard to control her mad urges.   Then there is Rose’s Aunt, Dame Hannah (Rosemary Ashe), who was once betrothed to a disguised Sir Roderick Murgatroyd (Steve Watts), the 21st Baronet, before she discovered the subterfuge.  Sir Roderick appears as a lively ghost from the past.  Last but not least with some understated comic acting is Robin’s stoic faithful retainer, Old Adam Goodheart (Graham Stone)

With more acting than is typical in regular opera, Ruddigore calls for uniquely multi-talented performers and the entire cast was more than equal to the task.  The acting was perfectly pitched.  Whilst it was sometimes difficult to catch all of the very fast singing, the often challenging songs were delivered with skill and zest.  And Sullivan’s outstanding music, in turns tender, jaunty and stirring, with folk, sea shanty and operatic elements, was consistently well played by a small group of multi-instrumentalists plus on-stage violinist (Luca Kocsmárszky) under the direction of Tom Noyes.  Overall, it was a truly impressive ensemble performance.

Most of the musical passages were highlights, but there were several outstanding moments.  In particular, the arrival of the cocksure Dick Dauntless in Act One was transformational.  His performance of “I Shipped D’ye See in a Revenue Sloop” was full of boisterous vigour and excitement and shifted the story into top gear. He turned out to be more of a Dick Dastardly, but see the show to find out more.  Director Peter Benedict playing Sir Despard Murgatroyd took the opportunity to make a couple of well received contemporary jokes.  In Act Two, he, Mad Margaret and Sir Ruthven perform a charming “My Eyes are Fully Open” which is followed by a beautiful duet between Hannah and Sir Roderick (“They Grew a Little Flower”). 

This splendid production of Ruddigore belies its troubled beginning.  It’s a minor masterpiece and, as a relative newcomer to Gilbert & Sullivan, I am now a fully converted admirer. 

Theatr Clwyd, Yr Wruddgrug – until 18th March 2023

Reviewed by Julie Noller

5*****

Home, I’m Darling written by Laura Wade and directed by Tamara Harvey has returned to the home of its 2018 world premier supported by the National Theatre.

I attended the matinee which no matter what I am watching always has a different vibe to the evening performance. I enjoy rewatching a performance in a different theatre with a change of cast. As someone who enjoys depth of character and observing interactions, it always fascinates me how subtle differences can alter my perception massively. I am happy to say the set is as impressive as ever looking like a 2 dimension dolls house with small pieces of furniture that indeed wouldn’t look out of place in one. Is the set a nod to the fact that what we are seeing is a dream; a fantasy? Something the music as the play begins gives a gentle nudge to… Mr Sandman, cue me humming along and bom, bom,boming to. That 2 dimension vibe almost has you feeling like you’re watching an old tv show perhaps Bewitched – perfect housewife, perfect life. When things start to go wrong in your life sometimes it feels like that dream world is the place to be.

Home, I’m Darling is witty, amusing and without doubt an extremely intelligent view of characters who don’t understand themselves yet alone others. Well done Laura Wade for making us look at our own lifestyles and ask the questions; who looks after your home? Who does the cooking and cleaning? Even by todays standards can you say you’ve never apologised if you’ve forgotten something from the shop? Have you ever put something on the stairs ready to take up? Have you walked past that item? I sniggered, yes I have and yes I’ve grumbled when others did just that too. I heard so many cliches ‘just a housewife’ ‘what do you do all day?’ Housewife – It’s not just physically demanding but mentally too. Jessica Ransom is infuriatingly perfect as Judy recently made redundant but obsessed and totally in love with the 1950s post war era. Where film stars ruled the golden screen with ideas of fluffy lifestyles of slippers and cocktails before dinner. Obsession can be a dangerous thing and she became annoyingly obstinate. You wanted to jump on stage and slap her for not listening.

Neil McDermott as Johnny is a wife pleaser a man in love with a woman not just an era. He goes along with Judys plan of 50s utopia, 6 months experiment that becomes a 3 year chore, his ottness is brilliant the way he utters darling. He pleads for things to return to a normality, he misses his wife’s sharp mind that could run rings around him. He misses simply a bag of crisps after a long day, he misses sharing the work load, the joy of bringing his wife a cup of tea in bed. What is apparent is that they are a lonely somewhat socially awkward couple whose love of the 1950s fashion and music led them to friends Fran (Cassie Bradley) and Marcus (Matthew Douglas) a couple who enjoy life to the max yet remind us that the grass isn’t always greener behind a different front door. Diane Keen as Sylvia; Judy’s Mum was my stand out character her love of Judy and somewhat disappointment in the fact she gave up a career to become a housewife has left a bitter taste of shame. Believing Judy lives a fantasy cartoon life when she was brought up in a commune of feminists, offers an understanding of Judy rebelling. Yet Sylvia’s speech about the realities of the 1950s; where winter from October through to March had you offering to help with cooking not to learn but just to be warm. I wanted to stand and applaud that Sylvia had true girl power.

I saw characters who lived with blame culture, it was the job, it was him, it was the clothes, it was the cocktails, it was pizza. It’s easy to say I’m listening but to truly listen you need to hear what is actually being said. I hope to catch Home, I’m Darling again soon, whats not to love wonderful characters full of depth, kitsch furniture that looks like its an up-cyclers dream, it just ticks so many boxes.