Natalie Dormer and David Oakes in 
Venus in Fur 
By David Ives 
Directed by Patrick Marber

• First image of Natalie Dormer and David Oakes in David Ives’ play Venus in Fur
• Royal Haymarket for a strictly limited run from 6 October.

• 200 seats at £15 for every performance. 

• Directed by Patrick Marber with designs by Rob Howell and lighting designs by Hugh Vanstone.

TRH Productions have released the exclusive first image of Natalie Dormer and David Oakes prior the West End premiere of David Ives’ hit Broadway play Venus in Fur which will run for a strictly limited nine week engagement at the Theatre Royal Haymarket run from 6 October to 9 December with opening night for press on 17 October.

Enigmatic actress Vanda Jordan appears unannounced for an audition with director Thomas Novachek. She’s determined to land the leading role in his new production – despite seeming wrong for the part. Over one evening in downtown Manhattan their charged meeting becomes a seductive dance to the end.

Directed by Patrick Marber, designed by Rob Howell with lighting by Hugh Vanstone and casting by Executive Producer Ilene Starger, Venus In Fur is an intoxicating dark comedy of desire, fantasy and the innate love of fur.

Natalie Dormer is to play Vanda Jordan. Dormer is known globally for film and television roles including Margaery Tyrell in HBO series Game of Thrones, Anne Boleyn in The Tudors for Showtime, Cressida in The Hunger Games: Mockingjay Parts 1 and 2, Focus Features’ The Forest, Ron Howard’s Rush, and Ridley Scott’s The Counselor. Upcoming, Dormer stars opposite Sean Penn and Mel Gibson in The Professor and the Mad Man, and the independent thriller In Darkness, which she also co-wrote. She is currently in production on FremantleMedia’s Picnic at Hanging Rock in Australia. Venus in Fur sees Dormer reunite with Patrick Marber, who wroteAfter Miss Julie (Young Vic) for which she received widespread critical acclaim in the title role. Her other stage credits include Sweet Nothings (also at the Young Vic) and .45 (Hampstead Theatre).

David Oakes is to play Thomas Novachek. Oakes is best known for portraying Juan Borgia in the Emmy Award-winning Showtime Original series The Borgias, for playing William Hamleigh in Emmy Award-winning mini-series The Pillars of the Earth, for BBC’s The White Queen in the role of George, Duke of Clarence and, most recently, on screen as Prince Ernest in ITV’s Victoria, for which he is currently filming the second series. Stage credits include Kit Marlowe in Shakespeare In Love (Nöel Coward Theatre) and Mr Darcy in Pride and Prejudice (Regent’s Park Open Air Theatre). Oakes will also appear in the film adaptation of Albert Sánchez Piñol’s thriller Cold Skinset for release later this year.

Patrick Marber is an award-winning playwright, screenwriter, actor and director. His productions of his own work includes Dealer’s Choice (NT & Vaudeville), After Miss Julie (BBC TV), Closer (NT, Lyric & Music Box NY) Howard Katz (NT), Three Days in the Country (NT) Don Juan in Soho (Wyndhams). His other directing credits include Travesties (Menier Chocolate Factory/ Apollo Theatre) The Caretaker (Comedy Theatre), Blue Remembered Hills (National Theatre), ‘1953’ (Almeida) and The Old Neighborhood (Royal Court Theatre). Other plays includeThe Red Lion, The Musicians, The School Film (all for NT) and Hoop Lane (BBC Radio 3). His film credits include Closer (directed by Mike Nichols), Notes on a Scandal (directed by Richard Eyre),Old Street and Love You More. For television his co-writing credits include The Day Today andKnowing Me, Knowing You With Alan Partridge. More recently Ivo van Hove directed Marber’s version of Ibsen’s Hedda Gabler for the National Theatre starring Ruth Wilson. His plays have won Evening Standard, Olivier, Time Out, New York and London Critics’ Circle and Writers’ Guild Awards. His TV work has received BAFTA, British Comedy and Royal Television Society Awards. His screenplays have been nominated for Golden Globe, BAFTA and Academy Awards. He received the British Independent Film Award for Notes on a Scandal.

David Ives was nominated for a Tony Award for Best Play for Venus In Fur, which has been produced all over the country and the world, and was turned into a film by Roman Polanski. He is also well known for his evenings of one-act comedies All In The Timing and Time Flies. Other plays include New Jerusalem: The Interrogation of Baruch de Spinoza; The Liar (adapted from Corneille); The School For Lies (adapted from Molière); The Metromaniacs (adapted from Alexis Piron); Is He Dead? (adapted from Mark Twain); Ancient History, and Polish Joke. A Chicago native, he lives in New York City.

Rob Howell has worked extensively in costume and set design in theatre and opera within the UK and abroad including at the Royal Court, Almeida, Donmar Warehouse, National Theatre, Royal Shakespeare Company, Welsh National Opera, Royal Opera House and Metropolitan Opera, New York as well as at numerous other West End and Broadway Theatres. Recent credits includeThe Ferryman (Royal Court) and Groundhog Day (UK and Broadway). He has received three Olivier Awards and multiple nominations for Tony and Olivier Awards for both Set and Costume Design, including the Olivier Award for Best Set Designer for Troilus and Cressida, Vassa andRichard III in 2000 and for Hedda Gabler in 2006. He received an Olivier Award in 2012 and a Drama Desk Award, Outer Critics Circle Award, Tony Award in 2013 and for his designs forMatilda the Musical in New York and London.

Hugh Vanstone has designed the lighting for over 200 productions and worked extensively with UK national companies and on Broadway. He has received many awards including three Oliviers, a Tony and a Molière. As associate artist at The Old Vic, he has recently lit Art, No’s Knife, Groundhog Day (UK and Broadway), The Caretaker, The Master Builder and Future Conditional. Other work includes: Dreamgirls (Savoy), Welcome Home, Captain Fox and Closer (Donmar);The Red Lion (National Theatre, Dorfman); Closer (Donmar and in New York); An Act Of God(New York & tour); Matilda (RSC and internationally); Strictly Ballroom (Australian tour); Don Quixote (Royal Ballet); Tanz Der Vampire (throughout Europe & Russia); Shrek The Musical(New York, West End & UK tour); Ghost (London and internationally).

Ilene Starger is a Casting Director and Producer. West End theatre credits include The Libertine(as Casting Director/Executive Producer for TRB and TRH); Breakfast at Tiffany’s (as U.S. Casting Director for 2009 TRH production; also for 2016 UK tour.) Broadway credits includeWaiting for Godot, No Man’s Land, Breakfast at Tiffany’s (Casting Director & Associate Producer), Marlene, The Elephant Man, Dance of Death, The Diary of Anne Frank, Dirty Blonde, Closer (Artios Award.) Film credits include Custody (also Associate Producer), The Rewrite, Pink Panther 1 & 2, Music and Lyrics, Two Weeks’ Notice, Night at the Museum (Artios Award), School of Rock (Artios Award), Sleepy Hollow, A Simple Plan, The Parent Trap, First Wives’ Club, Marvin’s Room, Robin Hood: Prince of Thieves, No Way Out. TV credits include: Witness to the Mob, The Great Gatsby, Earthly Possessions. Starger is a former VP of Casting for Walt Disney and Touchstone Pictures.

An adaptation of Leopold von Sacher-Masoch’s 1870 novel Venus in Furs that inspired the term masochism, Venus in Fur was first performed off-Broadway, New York in 2010 with Nina Arianda and Wes Bentley, before transferring to the Samuel J. Friedman Theatre on Broadway with Nina Arianda reprising the role of Vanda Jordan alongside Hugh Dancy as Thomas Novachek. Both productions were directed by Walter Bobbie and won Arianda multiple awards including the 2011/12 Tony Award for Best Performance by an Actress in a Leading Role in a Play. In 2012, Roman Polanski directed a film version of the play, in French, starring Emmanuelle Seigner and Mathieu Amalric.

LISTINGS

Website: www.VenusOnStage.com
Twitter: @VenusOnStageLDN
Facebook: facebook.com/VenusOnStageLDN

Theatre Royal Haymarket, Haymarket, London SW1Y 4HT

www.trh.co.uk

Box Office: 020 7930 8800

First performance on 6 October
Final performance on 9 December
Opening Night for Press on 17 October

Performances Monday – Saturday at 7.30pm Thursday and Saturday at 3pm

Prices from £15
200 seats at £15 for every performance

For full details either visit www.trh.co.uk or call 020 7930 8800

Edinbugh Fringe Festival

Pleasance Beyond – until 28 August.  Reviewed by Jess Brady

4****

Sheila is an ambitious hippo, she has big dreams and an ever bigger bum!  The First Hippo on the Moon is a hilarious and extraordinary space adventure which sees the enormously rich Hercules Waldorf-Franklin III and ingenious Shelia compete to be the first hippo to make it to the moon. The First Hippo on the Moon tells the tale of the importance of team work and dreaming big.    

After being called a piggy by Hercules, Sheila enlists the help of her jungle friends;  Derek the scientifically clever ostrich, the hard working porcupines Scratch and Sniff, Keith the friendly and kind giraffe and we mustn’t forget the king of the jungle Silver Bob the gorilla who is the fountain of all knowledge, to help her in beating him to the moon! 

Silver Bob tells Sheila in order to fuel her rocket to the moon, the only fuel available in the jungle is POO! All the jungle friends donate their poo but it’s still not enough so  they enlist the help from the audience ! 

The team of five actors from Theatre company Les Petits do a brilliant job at engaging the young audience with their bundles of energy and impressive puppetry skills that will leave you feeling exhausted just watching them !

This show is perfect for your little ones as it has lovely story that is easy for them to follow as well as some more adult jokes that will keep the mums and dads entertained too.  There are some great songs that you can boogie too as well as an amazing set and dazzling costumes that look like they have been taken straight out of the book!

Edinburgh Fringe Festival

Pleasance Courtyard – until 28 August.  Reviewed by Linda McLaughlan

5*****

This one woman show written by Martin Murphy and performed by Louise Beresford, took the audience through an excerpt of two characters lives.

The performance took place in the Attic located in the Pleasance Courtyard and could not have been a more apt location. The snugness of the room allowed for the audience to be up close and personal with Louise as she began to tell the story of the power struggle between Tracey, a prison guard and Siobhan a convicted criminal doing time in prison.

The scene is set as Tracey tells us how things can change in life so quickly, just when you think everything is okay life can unravel and turn itself on its head. Her life as a Prison guard seems mundane and uneventful as she tells us abut the lengths some inmates will go to get “stuff” brought in from the outside and how many are so manipulative that if you give them an inch they will take a mile. Reference is made to her work colleague George who likes to repeat the same story over and over.

Scene two introduces us to Siobhan who can appear almost nice and very approachable but there are indications that her persona is a well rehearsed act for her latest targets benefit. Reference is made at this point to a third person Marcia…. a notorious baby killer who has been moved to the prison…. The object of Tracey’s obsession and now the cell mate of Siobhan.

Louise expertly changes from one character to another with effortless ease and keeps you entranced with the lives of the two main characters. Her professional performance has you almost believing everything she is telling you about the lives of Tracey and Siobhan and you can almost relate to how they talk about their fears, anxieties and about the road their lives have taken. Although one is free and the other locked up for life they both seem trapped in their situations.

There were many occasions throughout the show eye contact was made with Louise and this can feel quite unnerving depending on the persona she was portraying at the time, several times she stays in character as she sits next to an unsuspecting audience member and almost drools over them as Siobhan talks inappropriately about sexual encounters and also how to get what she wants by watching and waiting.

The story progresses to show how one little mistake can slowly be the start of life unravelling and having no where to turn……… just who then becomes the Victim?

The professional performance was a credit to Louise and the way she delivered the story of the two women involved in Victim. It was clear to see why this play has been brought to the Fringe and should be watched by everyone. A five star performance that I wouldn’t hesitate to go watch again……….Artistically Brilliant!!

 

NEW CASTING ANNOUNCED FOR
THE ROYAL SHAKESPEARE COMPANY’S
MATILDA THE MUSICAL

• David Shannon will toe the line as Miss Trunchbull for the first time on 12 September
• Gina Beck will join the company as Miss Honey opposite Tom Edden and Marianne Benedict as Mr and Mrs Wormwood
• Currently in its sixth year in the West End and booking until 28 May 2018, the multi award-winning show will also be embarking on a UK and Ireland tour in 2018/19

The Royal Shakespeare Company’s Matilda The Musical has announced its new adult cast with David Shannon playing Miss Trunchbull alongside Gina Beck as Miss Honey and Tom Edden and Marianne Benedict as Mr and Mrs Wormwood. The multi award-winning production is currently playing its sixth year in the West End and is booking until 27 May 2018.

The full adult cast includes Keisha Amponsa Banson, Richard Astbury, David Birch,Maria Graciano, Karina Hind, Peter Houston, Katie Lee, Vicki Lee Taylor, Kris Manuel, Bryan Mottram, Tom Muggeridge, Emma Robotham-Hunt, Simon Shorten,Biancha Szynal, Callum Train and Robert Tregoning. The new children’s cast will be announced in due course.

Gina Beck (Miss Honey) is renowned for leading roles in musical theatre. Previous roles have included Glinda in Wicked (Apollo Victoria Theatre & US Tour), Christine Daaé in The Phantom of the Opera (Her Majesty’s Theatre), Magnolia Hawks in Daniel Evan’s production of Show Boat(New London Theatre) and Cosette in Les Misérables (Queen’s Theatre).  A graduate of the Royal Central School of Speech and Drama, her other theatre credits include Far From the Madding Crowd (The Watermill Theatre) and The Belle’s Stratagem (Southwark Playhouse) both directed by Jessica Swale, I Love You You’re Perfect Now Change (Arts Theatre Upstairs), Jacques Brel is Alive and Well and Living in Paris (Charing Cross Theatre),  The Sound of Music (Kuala Lumpur), Peter Pan (Birmingham Rep), The Kissing Dance (Jermyn Street Theatre) and Imagine This (Plymouth Theatre Royal). Her television credits include the BBC’s Doctors and Sherlock Holmes and The Case of the Silk Stocking. Opera credits include Madame Butterfly and L’elisir d’amore (Opera Holland Park). She was a soloist in the 21st and 25th anniversary celebrations ofLes Misérables as well as in the recent blockbuster film version. She made her BBC Proms debut in 2016 as a soloist in the BBC’s Bernstein prom.

Marianne Benedict (Mrs Wormwood) has most recently appeared as Grizabella in Cats (UK Tour). Her other credits include Women On A Verge Of A Nervous Breakdown (Playhouse Theatre), The Wizard of Oz (London Palladium), Dirty Dancing (Aldwych Theatre), We Will Rock You (Dominion Theatre), Chicago (Oldham Coliseum), The Girl Dusty (Duchess Theatre), Crazy for You (Lincoln Theatre Royal and UK Tour), Return to the Forbidden Planet (Basingstoke Haymarket and UK Tour), The Blonde Bombshells of 1943 (Stoke New Vic & Oldham Coliseum),Loveshack (UK Tour), The Sunshine Boys (Oldham Coliseum), Debbie Does Dallas (Old Fire Station Theatre, Oxford) and The Country Wife (Watford Palace Theatre). Having studied at the Arts Educational School, she has also appeared in Eastenders.

Tom Edden (Mr Wormwood) is known for his work across stage, television and film. His theatre work includes Amadeus (National Theatre), One Man, Two Guvnors (National Theatre, Adelphi Theatre, UK Tour & Music Box Theatre, Broadway) for which he received Tony and Critic’s Circle nominations and won The Drama Desk Award for his role as Alfie, and Oliver! (Sheffield Crucible) for which he was nominated for a UK Theatre Award for his role as Fagin. Other notable credits include The Resistible Rise of Arturo Ui (Donmar Warehouse), Doctor Faustus (Duke of York’s Theatre), Peter Pan Goes Wrong (Apollo Theatre), Les Misérables (Queen’s Theatre) and Measure for Measure (Young Vic). His film credits include Star Wars Episode VII – The Force Awakens, Mr Turner and Cinderella; television includes Upstart Crow, The Scandalous Lady W and Doctor Who.

David Shannon (Miss Trunchbull) is known for playing iconic stage roles in the West End and beyond.  His extensive stage credits include The Phantom in The Phantom of the Opera (Her Majesty’s Theatre), Chris in Miss Saigon (Theatre Royal, Drury Lane & UK Tour) and Jean Valjean in Les Misérables (Queen’s Theatre). Other credits include, The Beautiful Game (Cambridge Theatre), Romeo and Juliet, Threepenny Opera and Sweeney Todd (Gate Theatre, Dublin),Martin Guerre (Prince Edward Theatre), Cats (New London Theatre), Whistle Down the Wind(Aldwych Theatre), Jesus Christ Superstar (N.C.H Dublin) and Notre Dame de Paris (Dominion Theatre). Film credits include Noah, 5 to 7, Framed and La Visa Loca. David is also one half of Irish singing duo ‘Fir’, alongside Simon Morgan. He has also made regular appearances on the past three seasons of the History Channel’s Vikings.

Seen by over 7 million people across 60 cities and playing more than 5300 performances worldwide, Matilda The Musical is now preparing for its New Zealand premiere at The Civic in Auckland in August 2017 as well as the first UK and Ireland tour which will begin in March 2018, running alongside the continuing West End production. Winner of 86 major international awards, including 16 for Best Musical, the hit show is now the longest running production to play at the Cambridge Theatre.

Inspired by Roald Dahl’s beloved book, Matilda The Musical was commissioned by the Royal Shakespeare Company and premiered at the RSC’s Courtyard Theatre in Stratford-upon-Avon in November 2010, before transferring to London’s West End in October 2011, where it opened to rave reviews.

Having swept the board at the 2012 Olivier Awards, winning a record-breaking seven awards, the New York production of Matilda The Musical opened in April 2013 at Broadway’s Shubert Theatre and was celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year. The show also won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway.

In July 2016, the Australian production broke further records by winning all 13 Helpmann Awards for which it was nominated. Having also won a Sydney Theatre Award for Best Musical in 2015, the Australian production has also played sold-out seasons in Melbourne, Brisbane, Perth and Adelaide.

Matilda The Musical is produced by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Jeanie O’Hare and the RSC Literary Department.

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and direction by Matthew Warchus. The production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision byChristopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by Paul Kieve.

LISTINGS INFORMATION

MATILDA THE MUSICAL
Cambridge Theatre,
Earlham Street,
London WC2H 9HU

Booking until 28 May 2018
Tuesdays 7pm
Wednesday – Saturday 7:30pm
Wednesday & Saturday 2:30pm
Sundays 3pm

Box Office: Cambridge Theatre* 0844 412 4652 / RSC Ticket Hotline 01789 403493
No booking fee. *Calls cost 7p per min plus your telephone company’s network access charge.

Twitter: @MatildaMusical
Facebook: Matilda The Musical
Instagram: @MatildaTheMusical

To book online visit: www.matildathemusical.com

Edinburgh Fringe Festival 

Underbelly Circus Hub – until 28 August.  Reviewed by Linda McLaughlan

5*****

 

The Australian Troupe is 10 members strong as they returned for an another year of the Edinburgh Festival.

The show began with the audience watching them as they wandered on and off the floor stage removing their clothing and trying on different items belonging to others. The performance itself began when one of the team placed a coat clad body in the middle of the floor and through movement the performer indicated what it was like to be Human showing the audience what they believed this to be, removing clothing for recycling and shredding the different layers they wore.

Using the medium of music to help interpret the contemporary dances and moves they performed. The core strength of each member of the troupe enhanced the artistic way they held each other with the hand to hand performances. A limited selection of different apparatus provided the show with a different style of entertainment, however the show was mainly displayed through the mediums of trapeze, using their bodies to display the beauty of poise as well as the bravery of trusting their team mates to support them as they pushed their bodies into the most amazing positions.

We watched as bodies were thrown, pushed, pulled and lifted at a speed which seemed almost impossible for the human body to maintain, and in normal circumstances would lead to dislocated bones, however not with these finely tuned athletes. The elegance of the teamwork was flawless and although the audience could be heard throughout the show letting out gasps of fear as the troupe supported each other as they stood one footed on their partners heads or walked across a spine with daring expertise, allowing us the pleasure of watching a world class troupe of individuals who shone as bright as stars each within their own right as well as a team.

The performance is definitely a 10 out of 10 and I would not hesitate in watching this show over and over again as I most likely missed parts due to the speed and professionalism of this group of artists. It seemed to end quicker than I expected as I could have sat for hours in awe of the amazing talent on display. The standing ovation was well deserved and the audience could not congratulate the troupe enough as they returned again and again to take a bow.

This is a must see for everyone to experience as this went above and beyond any Circus or Trapeze show I have ever witnessed before and it displays just how much respect the human body should be given to push it to what should be impossible positions. Outstanding!!!

 

Edinburgh Fringe Festival

Underbelly Circus Hub – until 28 August.  Reviewed by Linda McLaughlan

5*****

The show was set in the smaller of the Circus Big Tops located in Meadow Park Edinburgh. The atmosphere was one of excitement from the audience which consisted of families with children from months old to primary school age. The circular layout allowed for the children to sit in front of the stage as well as in the chairs around venue.

The show began with the Children’s Classic Concerts Festival Ensemble who performed the well known music from Beatrix Potters Tales of Peter Rabbit and Jemima Puddle Duck written by Stephen McNeff enjoyed by audiences globally.

The show commenced with Michelle Todd , a well respected and established Soprano singer and actor who came on stage dressed in the recognisable clothes of Beatrix Potter, with Jemima Puddle Duck in her arms and commenced to tell the story of her adventures. The facial expressions and voice of Michelle brought the story to life for all the children in the audience as they listened entranced with the adventures of Jemima as she tried to find a safe place to lay her eggs.

The professional performance was first class from Michelle as she fluently changed her voice and expression for the different characters in the tale. The ensemble played in time with her verses and raised the atmosphere with the music. As the first tale came to a close some of the children began to show signs of restlessness which may be due to the time frame of the performance. During the interval the children and families where introduced to the ensemble and we got to learn who each person was and their instruments being played. An ideal opportunity for the educational element in regards to the variety of instruments being used. The MC took the opportunity to remind the children about the competition taking place and reminded parents to leave the Activity Sheet at the end of the show in the box provided at the door.

Act 2 began with Michelle returning to the stage this time with Peter Rabbit as a large plush toy. Michelle began to tell the children about Old Mrs Rabbit and her 4 children Flopsy, Mopsy, Cottontail and Peter. The children settled again to listen to the story as Michelle expertly told the story of Peters adventures as he went to find berries, herbs and veg from a nearby garden. Michelle was able to bring the tale to life again with her singing, verses and expert use of expressions and body language. Her ability to keep the interest of the children was superb and it was evident by the smiles of many of the parents her ability to bring back many childhood memories of the tales of Beatrix Potter.

This is a show that every child and parent should take time to go and see during the Edinburgh Festival and allow children to experience the Tales of Beatrix Potter brought to life by Michelle an excellent hour well spent.

⭐⭐⭐⭐⭐ An excellent show

Edinburgh Fringe Festival

Underbelly – until 28 August.  Reviewed by Linda McLaughlan

4****

Barely Methodical Troupe

The show takes place in Big Top as part of the Underbelly Circus Hub festival shows. An environment that allows excellent views from all areas of the raised seating to provide uninterrupted views of the artistic performances on display throughout the show.

Kin is about families and how people perceive them. Starting with the Artists arguing over who is to be chosen as each is put through a test given by a dominant women who herself is tested about her family. The contents of the test includes an artistic dance culminating in a show of strength, poise trust and belief in each other, with the winner get-ting the prize.

The young female tester chooses a young man and as he wins the others grab him not allowing him to leave due to jealousy of his success.

Kin shows the strength of hand to hand pairs and the intricate movement of the CYR wheel which embraced the grace of a piece of apparatus. The use of different genres of music alongside hand to hand contact of the artists, using a combination of flair and beauty in the dance. Each artist shows strength and trust when holding each other in positions both daring and exhilarating, showing the core strength of everyone participating. The evidence is on view to show the training both in body and mind is given equal attention to deliver and display an outstanding show for the audience. The director has given us a show that is ‘Breathtaking, Funny and Emotional ‘ providing a powerful display by all present in the audience.

The show is suitable to all ages and was enjoyed by everyone who took time to watch this evening. A powerful display of stamina which I would recommend everyone take time to visit during the Edinburgh Festival.

Trafalgar Studios London – until 18 November 2017.  Reviewed by Catherine Françoise

4 ****

APOLOGIA is Alexia Kave Campbell’s third play and second incarnation here in London after first being seen in 2009. It also marks the return of American actress Stockard Channing to the West End stage after a decade. There’s no denying her strong and charismatic presence as world renown professional art historian Kristin Miller reaching her sixth decade and known for her lifelong radical left wing views and demonstrations outside Grosvenor House and in Paris in the politically charged 1960s. She still has a portrait of Karl Marx hanging above the loo in her bathroom.

Alongside all of this she has been a wife, a mother and a divorcee who lost custody of her two young sons at an early age and it is in the domestic setting of her homely kitchen, rather than what has defined her public life that we meet her. Her sons are coming to dinner to celebrate her 60th birthday with their respective partners and as the evening unfolds we discover that in recently published memoirs of her life, neither of her sons are mentioned at all. Tensions rise. Campbell explores the damage caused within family by all sorts of decisions made for the best reasons at the time. As is always the case with hindsight, things seem much clearer and simpler in retrospect, and the damage wrecked by an unintentionally neglectful mother to her now two adult sons, has also inflicted its own damage on her.

There is wit and compassion and gentle observation but I found the play to be a little disjointed and forced in places. Whilst activism and conviction is admirable, unbelievable rudeness to those who do not share similar views is not and there is a jarring disconnect between wanting better for people in general yet treating those standing in your kitchen with absolute disdain, which is what Kristin Miller does to her son’s partners. But Campbell’s characters are well cast with Channing magnificent as Kristin at the centre, with an unstoppable array of fierce, droll jibes. She also elicits sympathy from us as she struggles to understand why her sons have been so badly affected when she always acted with the very best of intentions both for them and society as a whole.

Joseph Millson impresses playing both of Kristin’s sons (banker Peter and depressive writer Simon). Millson is superb and particularly profound playing Simon who has been completely broken by his mother’s abandonment as a child. The scene between mother and son was especially poignant and extremely moving. Laura Carmichel playing Peter’s girlfriend Trudi is outstanding, warm, intelligent, open and multifaceted. Freema Agyeman is fearless and gutsy as Simon’s soap actress girlfriend, despised by his mother. Desmond Barrit as long-time family friend articulates a warm and genuine vision for a better world that fuelled protests and demos of the tempestuous 60s. Thoughtfully directed by Jamie Lloyd, Channing leads a superb cast in Campbell’s sharp, witty, insightful play.

 

Today I am going to do some bragging – forgive me if it appears we are self indulgent.

We’ve managed to review some fabulous shows – more hits than misses thankfully and we have had some lovely feedback on the reviews on the website, facebook and twitter.

Edinburgh Fringe Festival

Pleasance One – until 28 August.  Reviewed by Jessica Brady

3***

Based on the 1984 cult classic directed by Michael Herz and Lloyd Kaufman, this musical remake of The Toxic Avenger hits the fringe after a successful run in London’s Southwark Playhouse.

Despite going up 35 minutes later than planned, the show managed to pack a punch for the audience! The story follows Melvin (played by Mark Anderson), a geeky New Jersey boy who is in love with a local blind girl Sarah (played by Emma Salvo) and wants to win her heart by saving the town from the toxic waste that seems to be destroying everything in its path. Melvin seeks out the mayor (played by Natalie Hope) and pin points her as the culprit and vows to tell the town. She uses her sexually persuasive powers to convince him otherwise and once he is out of her sight she sends her two thugs to ‘take care’ of him. The two thugs (played by Che Francis and Oscar Conlon-Morrey) rough poor Melvin up and throw him into a pipe of toxic waste transforming the measly boy into a grotesque mutant. He saves the helpless Sarah from the very same thugs who attack her and she falls head over heels for the newly named ‘Toxie’.

This is a silly hour and 15 minutes that has 5 talented performers who give it everything they have with powerful vocals and a rock and roll score! It’s a cross breed between Little Shop of Horrors and Urine Town and has some pretty funny one liners at times. I would say that throughout the music was so loud and over powering that I couldn’t hear a lot of what the performers were singing about which wasn’t great but over all if you’re looking for something that will give you a whirlwind experience then The Toxic Avenger is for you.