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Thursday 22 March 2018

Misty, Bush Theatre | Review


Misty
Bush Theatre
Reviewed on Wednesday 21st March 2018 by Shaun Dicks
★★★★★

Arinzé Kene is a star on the rise. Playwright and Actor, he has endless noteworthy credits. Tonight’s viewing is Misty, written by and starring Kene. Misty is a show of two stories; the first being a story of a young man, travelling on the night bus in London, who makes a bad decision before unravelling. We follow him as events unfold. The second story is led not by a character but Kene the person. It follows his process of creating this show and all the negativity and hardship that he faced while doing it. 

Firstly, Kene as a writer is outstanding. The script is fantastically interwoven with its dual narrative; the structuring and execution is positively breath-taking. This script is a masterpiece and a masterclass in how to create an effective, powerful and colourful script. Kene has found the right balance of intense, thought provoking and politically/racially charged material and mixing it with great wit and humour. There is an elegance in the script that is rare, the imagery is so vivid and clear- it is beautiful. 

Kene as a performer is enthralling and captivating. He is a scintillating storyteller, with a presence second to none. Underscored by brilliant music, everything he delivered was real, honest and intense. The performance was outstanding, creating a very stirring and thought-provoking show. Everything is so well rounded, so complete, and incorporates multiple storytelling devices so effectively, that it becomes a show that needs to be seen, heard and enjoyed by everyone and anyone. 

 It is a show that needs recognition from the higher ups in awards. It needs thrusting in front of decision makers in Parliament. It is a show that legitimises itself and gives visibility to unrepresented issues. 

I have been watching theatre for eleven years, appreciating for the last five. This show is in my top three, of greatest shows I have ever seen. It is excellence and I cannot be happier or feel more privileged to have experienced it. 

It is theatrical perfection. Go see it, tell everyone about it. Tweet it, Facebook it, Instagram it, Tumblr it, Snapchat it. Make sure that this masterpiece is seen and heard. Give it the visibility that it deserves. Kene is a genius, plain and simple. 

 Misty runs at the Bush Theatre until April 21st.

 Read Shaun's other reviews here.

 photo credit: Helen Murray
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Wednesday 7 March 2018

Honest Lies, Etcetera Theatre | Review


Honest Lies 
Etcetera Theatre 
Reviewed on Tuesday 6th March 2018 by Shaun Dicks
★★★★

‘Amateurs do it for fun, artists do it to live.’

This is one of many quotable moments of Honest Lies. The show is a commentary of the Theatre Industry as a whole; it’s peaks, it’s troughs and everything in-between. It tells the story of Claire and Sam, a couple, who are both actors. Claire has just delivered the performance of her life, or so she thinks. When she returns home, Sam is waiting for her, and gives a very blunt opinion of her performance. We follow their night as they fight, make up, practise Shakespeare with Gummy Bears and descend into an unexpected twist.

The script written by Christopher Walthorne is flowing, frank and prophetic. The script is really well written, containing deliciously sizzling dialogue and a very well-crafted commentary on theatre. One stunning moment of commentary was delivered by Claire played by Georgie Matthews, where she gave an unapologetic monologue about the state of female roles in modern theatre and the position of women in theatre. Matthews lets the words out with a passion that is second to none; she was saying what every woman in theatre wish they could say. Matthews delivers a well-rounded performance, with a fully fleshed out and realised character. 

Sam, played by Alexander Jeremy was another wonderful performance, giving a scathing but humorous character who is a contradiction in himself. His performance is well pitched and gives a good contrast in energies in the beginning of the piece.

The Etcetera theatre is in the colourful and artistic Camden. It’s part of a great group of theatres that do a box office split, therefore supporting new and innovative new work like Honest Lies. This show has an amazing twist that surprised me in the best way possible, it is something that I have never seen before in theatre. I sincerely hope that this show has a long life ahead of it. It deserves to be seen in its limited run and taken further, onto a larger stage. If you want something different and innovative, Honest Lies is for you. Check it out and support new theatre.  

Honest Lies runs at the Etcetera Theatre until March 10th



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Saturday 2 November 2019

Shook, Southwark Playhouse | Review


Shook
Southwark Playhouse
Reviewed on Friday 1st November 2019 by Shaun Dicks
★★★★★

Now in it’s tenth year, the Papatango writing prize is back. Last year’s winner, The Funeral Director, was a rousing success and ended up going on a national tour. After a record 1,406 entries for this year’s prize, the winner is Shook by Samuel Bailey. One of the prizes, a month’s run at the famous Southwark Playhouse.

We found ourselves in prison to follow the stories of Jonjo (Josef Davies), Cain (Josh Finan) and Riyad (Ivan Oyik), three inmates who all have young children and are taking a childcare class run by Grace (Andrea Hall). Throughout we stay in the classroom where we learn all about the three men, find out why they’re in there, see who they are as people and watch them train to be fathers. But as Cain points out, ‘You can’t teach anyone to be a parent.’

There are many things that make this show great. One of them is the humour. The jokes within this script from Bailey are a laugh riot. ‘What does MBE mean? Massive bellend.’ and ‘Have you grown up in a cupboard?’ are particular highlights delivered by the outrageously loud mouthed but hilarious Cain.


But what makes the humour so brilliant is the sucker punches that are handed out by Bailey later. They are brutally honest and cutting, like when they are talking about their children and Cain proclaims that ‘They’ll be in here too soon.’ and when Jonjo finally opens up about his dad leaving his family and Cain replies ‘Fair enough, your old man fucked off. That’s normal.’.

However, all get to shine in their different ways. Riyad is intelligent and full of confidence and he is looking to get his Maths GCSE. His confidence is on full display when he says, ‘I’m going to make Equilateral Triangles my bitch.’ Jonjo is new to the prison and is a very shy man. He takes his time to open up to the others and as he does, you warm up to him. As soon as you do, he hits you with the sucker punch of how he got to where he is. And Grace is a wonderful anchor for the entire show, giving the other characters someone to bounce off throughout.

What really stands out in this show is the cohesion between the performers. There is an outstanding rapport between all four actors. The bounce back of dialogue between all is seamless and brilliant. A testament to director George Turvey, who clearly worked his performers hard to get that level of cohesion.

Papatango and the Southwark Playhouse have met and superseded all expectations. The whole package is simply superb, from the writing to the performances. This. Play. Is. Phenomenal. It affects you and that is the sign of excellent theatre. Shook will take you and you will not return the same.

Shook runs at the Southwark Playhouse until 23rd November 2019

photo credit: The Other Richard
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Friday 13 April 2018

The Mousetrap, St Martins Theatre | Review


The Mousetrap
St Martins Theatre
Reviewed on Thursday 12th April 2018 by Shaun Dicks
★★★★

The Mousetrap at the St Martins Theatre has been a staple of the West End for many years. Sixty years in fact, making it the longest running show in the world. As we were told at the beginning of the night’s performance ‘Not bad for a show that Agatha Christie hoped would have a nice little eight month run’. Agatha Christie and her works are a pillar of English literature and was a true trailblazer of the ‘Who Dunnit?’. The 12th April 2018 was its 60th anniversary gala, celebrating the prestige and longevity that all shows dream of. 

The plot of the show is simple enough, eight seemingly random people of all different backgrounds and histories come together to a guest house, one being a police officer trying to crack the latest high-profile murder case that could involve those staying there. But with heavy snow falling and no communication to the outside, the games begin. There is another murder in the guest house, and it’s anyone’s guess who committed the crime. 


The Mousetrap takes you back to a different era, where the pioneering technology is the ‘Wireless’, today known to us as a radio, where there are no televisions or mobile phones; where seclusion really meant seclusion. The show is very much a delight, the first half was full of rich language, situational humour and a wonderful classic aesthetic. It’s wonderful to be immersed in such a stylised and all-encompassing world. The second half was equally inclusive of all these qualities, but as the investigation broke down and we got to the gritty part of the story, it felt a little bit clunky; a minor flaw in an otherwise wonderful night of entertainment. 

It is a wonderful feat to become the longest running show ever, and it adds to the already glittering prestige of Agatha Christie. It’s a wonderful night of classic British entertainment. Do you want to know who dunnit? Go down to the St Martins theatre to find out. 
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Saturday 13 January 2018

Strangers in Between, Trafalgar Studios | Review


Strangers in Between 
Trafalgar Studios
Reviewed on Friday 12th January 2018 by Shaun Dicks
★★★★★
As a member of the LGBT community we all face our fair share of struggles. One of those struggles is the loss of family, whether its you leaving them or they sever ties with you. Strangers in Between tackles the subject of creating your own family with wit, humour and wonderful storytelling. It’s the story of Shane, a 16-year-old boy who runs away from his home and family in suburban Australia to Kings Cross, Sydney. The story follows Shane as he tries to navigate these new surroundings and new friends whilst carrying old baggage.

The story and message is a very relatable one; one that is very well crafted by Tommy Murphy. Murphy’s crafting of the story and characters is genius, the script is witty and humorous without even trying. The writing is outstanding, modern scriptwriters please take note. The direction from Adam Spreadbury-Maher is masterful, the show being slick, punchy without being over bearing.


Now we come to the cast. No words can be used to describe how outstanding the all-male cast of three are. You can tell that the relationship between them is strong. They are comfortable with each other and they have an undeniable chemistry. Roly Botha as Shane was truly endearing, creating a gem of a character. Dan Hunter as Will/Ben was charming as Will but complex as Ben. Hunter’s ability to change between roles was brilliant. The best I’ve saved until last, Stephen Connery-Brown as haggard old queen with a heart, Peter was simply perfection. Peter was witty, humorous, serious, kind and loving; the complete character. Connery-Brown isn’t just talented, he is an actor young performers should look up to. He gives a masterclass on how theatre should be done. These men took this script, ran with it and then some.


As a gay man myself, I relate to this story. It didn’t make me feel just for a second but a very long while. It made me emotional and think for hours after the show. That is a signifier that it is excellent theatre. The Kings Head Theatre is renowned for producing brilliant LGBT theatre, Strangers In Between falls into that bracket and is more than deserving of its West End transfer to Trafalgar Studios. Everyone needs to see this show. Support the wonderful Kings Head Theatre, support Strangers In Between. It deserves to be seen. It deserves to be recognised. It is the best thing you will see. 

Tell your friends, family and work colleagues. Everyone needs to see Strangers In Between!

Strangers in Between runs at the Trafalgar Studios until 3rd February 2018

photo credit: Scott Rylander
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Tuesday 5 December 2017

Parliament Square, Bush Theatre | Review



Parliament Square
Bush Theatre 
Reviewed on Monday 4th December 2017 by Shaun Dicks
★★★★★

“We get a little happiness and then we die."

The Bush Theatre, a highly respected and popular Off-West End theatre in buzzing Shephard’s Bush, is currently home to a show that’s origins take it back North to the Royal Exchange Theatre in Manchester. The Bush Theatre itself as a building looks very new and stylish; when you walk into the main performance space that theme continues. The stage is set in the round, dressed very simply but elegantly with household items. As you walk in there is serious, almost ominous music playing, setting the tone for the rest of the show. 

It’s a common theme for shows from the Royal Exchange to be outstanding and Parliament Square is no different. From beginning to end this show is strong, slick and packs a powerful punch. The show sizzles as it moves from scene to scene. Cleverly using lighting, staging and sound for the piece to reach all nooks of the space and keeping every audience member gripped as the show builds towards it’s climax. The use of micro or flash scenes aides the narrative as it means that we're not bogged down with any filler scenes, this script is a triumph for James Fritz, a true masterclass on how to write an impactful script in an age where not all new work is as tight as this. 

However, it is not just the script that is outstanding here, the cast are a group of individuals brimming with talent and confidence. The supporting cast was a highlight- so fluid in their use of the staging and the way they bring James Fritz’s piece to life. They are unapologetic in what they're presenting, and they make this show tragically beautiful. It's a frank and realistic representation of the world today, a true protest piece.


Joanne Howarth (Mum) and Kelly Hotten (Physio/Colleague/Ticket Woman/Friend) are particularly outstanding as the comic relief aspect of a show that is covered and littered in seriousness and real-life truths. What is interesting is Damola Adelaja (Tommy) and his pitching of the character. In a world riddled with hyper masculine characters, Tommy is presented as this sensitive and caring man- a refreshing take on the modern-day male. 

As we fall into Panto Land season I find some people forget that London is still brimming with brilliant theatre. Parliament Square is part of that. This protest drama is a pivotal piece of theatre that needs to be seen by all, and needs to be taken to the West End. The show is powerful, influential and relevant. It is a show not to be missed and you have until the 6th January to catch it before its gone. In this day and age, we all need something to believe in. This show emphasises this more than ever. A masterpiece.

photo credit: Richard Davenport
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Friday 3 August 2018

Sacrifice, Soho Theatre | Review


Sacrifice
Soho Theatre 
Reviewed on Thursday 2nd August 2018 by Shaun Dicks
★★★★

Millennials, calling all Millennials. Take your faces out of the illumination of your phone (after reading this review) and pay attention. This is all Sacrifice asks of you. The run is limited. The length is short. But the message is powerful. Sacrifice brings to the spotlight the crisis that we as a generation face. Extortionate house prices, lack of opportunity outside university, gentrified communities and increasing debt. Using archetypal characters, you are given a cross-section of the those that make up society and presented to you is a story of a group of young millennials trying to get by while chasing their dreams in a city that is ruthless and stone cold. 

Despite all the severe topics that are brought to the fore here, Sacrifice is an incredibly witty and humorous play. The jokes are well planned in the script and executed perfectly by the ensemble cast. One liners come thick and fast, the next one easily as funny as the last. The presentation of the script is outstanding as the performers are snappy and make words buzz with energy as the exchanges go on. Overall, the work the whole cast put in pays off, as their performances shine through. 


What really got to me as I as watching this piece was how unrelenting this show is when it comes to the truth. This show, I believe is the beginning of opening up conversations about the crisis we face today. A crisis that gets white washed in the media. This brings the problems to our very front door. Sacrifice is a ruthless dissection of human psychology and the nature of millennials. This show urges us to challenge what we’re told and fight for more than the scraps that are being handed out. When it boils down to it, the show is about the ever-growing class and wealth divide in this country. 

So please, I beg you, get off your phone, run down to the Soho Theatre, watch Sacrifice while you can. Don’t do what you do in elections and referendums; stop ignoring and start acting. Watch this show, try to tell me you don’t see and hear some familiarities. This here is art imitating life. 

Sacrifice runs at the Soho Theatre until 4th August

photo credit: Mark Douet

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Friday 17 May 2019

Summer Street, Waterloo East | Review



Summer Street
Waterloo East 
Reviewed on Thursday 16th May 2019 by Shaun Dicks
★★★★


Everything is a little brighter on Summer Street, or in this case Waterloo East Theatre. Summer Street takes us back to the hayday of the 1990’s to 00’s Australian soap opera or ‘Soapys’ where Jason Donovan and Kylie Minogue were making their marks on television and British pantomimes always starred a Soapy star.

In Summer Street the Aussie Soap Opera Musical we follow one of the biggest Soapy shows, Summer Street. After a few years of the show being cancelled, the stars of the show are brought back together for a one off spectacular, with a live broadcast at the end.

Summer Street as a show is hilarious. It is pure spoof comedy in its material and the cast does well to carry that over. However, at some points it feels that the cast are almost trying too hard to bring the comedy and some spots aren’t allowed to breathe. But nine times out of ten, the comedy works.


The cast is four persons strong, with Simon Snashall as Bruce/Mick/Dr Marl and Myke Cotton as Paul/Brock/Butch putting in good performances. They landed jokes and hit their harmonies well. But the women stole this show. Julie Clare as Steph/Mrs Mingle/Marlene was an absolute powerhouse and Sarah-Louise Young as Angie/Bobbi/Sheila was complete comedy gold. These two women had fully fleshed out characters, all three diverse from each other. Their comedic timing was brilliant, especially in song with Marlene’s boppy Lucky Plucky Me and Bobbi’s Chains Around My Heart. And overall the shows harmonies are good, this is a testament to Musical Director Sarah Morrison.

The man whose fingerprints you can see all over the show is Andrew Norris. His script and lyrics with all the gags and obvious spoof is very funny. The music is kitschy, catchy, very much of the 90’s/00’s era and you can hear all the different influences in his score. The direction generally is good. Like I’ve previously said, there are moments when the show need to breath and maybe go for the less obvious comedic choice. The choreography by Lauren Chinery is stylised and of the era but the set design by Amy Mitchell is limited.

Summer Street is fun, silly, spoofy and full of gags. It’s exactly what all of us need at the moment. It takes us back to an era from the not so distant past. The show makes you feel good, smile and gut-bustingly laugh. So, hop on down to Summer Street for a ripper. Bonzer mate!

Summer Street runs at the Waterloo East theatre until 2nd June 2019
photo credit: Simon Snashall


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Saturday 9 December 2017

Callisto: A Queer Epic, Arcola Theatre | Review


Callisto: A Queer Epic
Arcola Theatre
Reviewed on Friday 8th December 2017 by Shaun Dicks 
★★★★

“To be patient is to suffer.”

Arcola Theatre. London’s East End. Four stories all about a community that knows suffering all too well. The LGBT community. The theatre is bare – no props or furniture set – just the harsh concrete floor and the bare brick walls. We are set in the thrust and are welcomed by edgy, East End music. The music and lights drop, the show begins.

The show follows four different LGBT stories all in different time periods. They have their own narratives and different characters but they all fall on to two similar topics; suffering and love. The script of this show is a gem. Hal Coase has created a rich and full script that is a wonder to see being brought to life by the actors. There was a richness to the dialogue that was natural but moving. Credit should also be given to director Thomas Bailey, the way that the show moves - scene to scene, time period to time period - was well executed for the most part.


However, there are two downfalls to this show. The first, is the story set in space; these scenes were basic, under rehearsed and ultimately lacklustre. It felt like this story had been given less time and care in its rehearsals. It’s one saving grace was Cal (Nicholas Finerty), this character was endearing, innocent and charming. Unfortunately, the second downfall of this show – excluding the character Cal – was the performance of the male cast. The men within the show were one-dimensional, simple and lacking any type of edge. There was so much to work with story wise, it was disappointing that the men didn’t capitalise.

Thankfully for this show and its audience, the women of this show, stole it. These women created well rounded, fully realised characters. They made us feel, laugh and gasp. Whether it was a cheesy 70’s porn scene, locked up in a tower or in the comfort of home; the scenes were intriguing, captivating and hilarious. The woman who really stole the show for me was Phoebe Hames (Isobel, Nurse, Aunty), her performance was simply outstanding. Hames’ comedic timing was something to be savoured and enjoyed. 



The script is scintillating, the direction is clever and the acting on the female side is exquisite. If that were replicated by the other half of the cast, we would have one hell of a show on our hands. In its current form the show is good, and is well worth a watch. The stories deserve to be heard and there are some performances that needs to be seen. 

Callisto runs at the Arcola Theatre until December 23rd

Photo credit: Lidia Crisafulli
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Friday 22 June 2018

Daisy Pulls It Off, Charing Cross Theatre | Review


Daisy Pulls It Off
Charing Cross Theatre
Reviewed on Thursday 21st June 2018 by Shaun Dicks
★★★

With the name of Guildford School of Acting comes a vast and storied reputation. When you come across a show with GSA’s name on it, you go in with certain expectations. Their current venture is Daisy Pulls It Off, presented by it’s Actor Muso students at the Charing Cross Theatre. The show presents a story within a story based in an early 20th century private girls school where they admit their first elementary school scholarship student, Daisy. It follows her trials as she tries to integrate into a world that is far removed from her own. 

The musicianship displayed on the stage is truly extraordinary, the combination of various instruments and the orchestrations by Niall Bailey was brilliant. Another top aspect of the show is the students faces. Their facial acting was so on the mark, stand outs being Katy Ellis as Trixie Martin and Gemma Evans as Monica Smithers, they stole the show for me. I also want to give a shout out to the staging/movement by Phyllida Crowley-Smith, it was all so stylised and of an era that was so pitch perfect for the piece. 


The material that the students were given was nothing special but decent enough - the best moment being the Hockey Final sequence – some bits felt well-rehearsed, whereas others felt under rehearsed. There were stumbles with lines and a few technical issues. One thing that stayed with me as I watched the show was that it’s nice light entertainment, but it wasn’t anything new or special. It didn’t make me feel anything. It wasn’t quite the quality of top shows in the West End that this show is neighbouring during it’s run. 

The show isn’t bad, but it also isn’t great, just somewhere in the middle. There are some wonderful moments to be proud of, but the show is inconsistent. It’s worth a watch if you want a little light entertainment on a summers evening but I wouldn’t say it should be your first choice. 

Daisy Pulls If Off runs at the Charing Cross Theatre until 30th June

photo credit: Robert Workman

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Friday 9 November 2018

Lands, Bush Theatre | Review


Lands 
Bush Theatre
Reviewed on Thursday 8th November 2018 by Shaun Dicks
★★★★

Absurd. Absurd is a multifaceted word. It’s volatile, malleable and powerful. Absurd is the word to describe Lands. Produced by the incredible company Antler, Lands is a story of two women, puzzles and a trampoline. We follow their story as one tries to finish their puzzle, while the other tries to give up their addiction. This show is very metaphorical, conceptual and symbolic. You’re in for a ride. 

The shows main strength is its humour. The scripted humour throughout this entire piece is brilliant, the use of situational, physical and verbal humour is so perfectly pitched that it’ll make you snort. But not just snort, but loud and ugly snort. You’ll cry because you’re laughing so much. You’ll laugh so much it’ll hurt.
 

Mainly, this is because of the wonderful leads: Leah Brotherhead as Leah and Sophie Steer as Sophie. They are a wonderful duo, who are great together. They know how to play and bounce off each other and both look like they are having fun together on stage. They interact well with the audience and their stage manager Rachel Darwood throughout. My favourite thing about them was when they were silent. They use silence perfectly. They aren’t afraid to use it. 

The direction of this piece by Jaz Woodcock-Stewart is very well done and evident throughout the piece. The set design by Charlotte Espiner is interesting, extremely industrial and cold. The lighting design by Rajiv Pattani is simple and subtle but well presented and constructed. And the use of sound is another highlight, specifically the song choices dotted throughout. My favourite moment in the entire show is a certain dance break. Try and make the connection. 

Lands by Antler is a show where you need an open mind. It’s barmy, bonkers and brilliant. It’s just absurd on so many levels. So, you have to go watch it! Do yourself a favour and go laugh for 80 minutes, because you will at Lands. 

Lands runs at the Bush Theatre until December 8th 2018

photo credit: Helen Murray

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Tuesday 7 August 2018

Silk Road (How To Buy Drugs Online), Trafalgar Studios | Review


Silk Road 
Trafalgar Studios
Reviewed on Tuesday 7th August 2018 by Shaun Dicks
★★★★

Technology. Drugs. The Silk Road. We find ourselves in an age where reliance is at an all-time high. What do we rely on? Things to change the reality of our situation. Technology, where we can hide who we really are behind a cyber persona that we create. Drugs, to take us to an altered reality so that our actual reality is suspended. Silk Road follows a young man, one that believes that there is more to be learnt than what you are told. A young man that starts as a drug user but becomes a dealer. He discovers the Silk Road and learns more than he bargains for, taking him through a line of events that shows you a world you wouldn’t believe unless you saw. 

The show is led by Josh Barrow who plays Bruce, who is chaotic, immature but charmingly endearing. He has a beautiful love for his Nan (as we all do) and is a lad who just wants to belong and feel love. Barrow is an interesting performer, as he presented a nice balance of light and shade in his role. 

Barrow stumbled a few times throughout the show, I would attribute that to nerves of a young performer. But the multi-rolling that he does is impeccable. The timing of jokes in various characters were great and gave quite a few hearty belly laughs. But he also counterbalanced the humour with moments of severe seriousness when required. What really impressed were the moments of tenderness. These were very endearing moments, humanising Bruce, making him the young lad that he was. 


With addressing such a volatile subject like drugs, the storytelling was bashful, unapologetic and frank. Alex Oates does a terrific job in delivering a compact, effective and stellar one hour script. The through line tells a complete, complex and interesting story, culminating in an ending that is foreshadowed but has an interesting surprise for the audience. 

Silk Road isn’t the best one person show I’ve ever seen, but it isn’t the worst. It’s an interesting take on a taboo subject, presented in very real circumstances. It brings up a conversation worth having and certainly feeds your curiosity. It’s well constructed and equally well presented. The show is a little different, which is a good thing. We all need something different occasionally. Follow the Silk Road to an altered reality so you don’t have to face yours for an hour. 

Silk Road runs at Trafalgar Studios until

photo credit: Nick Rutter

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Tuesday 27 February 2018

Harold and Maude, Charing Cross Theatre | Review


Harold and Maude
Charing Cross Theatre 
Reviewed on Monday 26th February 2018 by Shaun Dicks 
★★★★★

 ‘We come in with nothing, we go out with nothing.’
This may be the truth in life but not when it concerns Harold and Maude. The home of the show is the Charing Cross Theatre, one of London’s hidden gems. The show is filled with a plethora of joys, including an Actor Musician element which gave a movie like feel.  We follow the story of eccentric characters Harold and Maude; Harold, the young man who acts out multiple suicides and Maude, the free spirited and law bending hippie pensioner. The story tells us of these two quirky characters and their unconventional, blossoming relationship. 

The show is full of many joys. To begin with, the story written by Colin Higgins, is incredibly well crafted. The script is littered with quotable lines that uplift the soul and the story warms your heart. The direction by Thom Sutherland – whose work I have followed for years – was assured and inspired. With the multiple moving parts and minimal space, Sutherland succeeded in maintaining fluidity. Another incredible factor was the Actor Musician ensemble, their multi-rolling and musicianship was outstanding. Mrs Chasen portrayed by Rebecca Caine was a particular highlight, her comedic timing and character work was incredible.


Harold played by Bill Milner was very well pitched. The use of dark humour with his character was perfect – giving an Alan Ball type feel - and the evolution of his character was a sight to behold. The crowning glory of this piece was Sheila Hancock as Maude. Hancock gives a masterclass on how theatre should be done. She is balanced, hilarious, endearing, truthful and tender. Her creation of Maude is so well-rounded and makes you feel all the emotions in the two hours you spend with her.

This is a story of non-conformity, love and life. It portrays a beautiful relationship between a man in the beginnings of adulthood and a woman nearing the end of hers. This show breaks down generational divides and shows the beauty of friendship. The line Maude says, ‘We don’t need to build anymore walls, let’s build more bridges.’, covers this show in a nutshell. 

Harold and Maude is so full of happiness and magic. This gem cannot stay hidden, it is too special to stay hidden, it needs the recognition it deserves. In a dreary winter, treat yourself to this ray of light. 

Harold and Maude runs at the Charing Cross Theatre until 31st March 2018

photo credit: Darren Bell


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Thursday 29 March 2018

Ruthless, Arts Theatre | Review


Ruthless
The Arts Theatre 
Reviewed on Wednesday 28th March by Shaun Dicks
★★★

The Arts Theatre is in the heart of the West End. It has been host to a plethora of eclectic shows - from Ushers to American Idiot to Murder Ballad – the Arts Theatre shows new and edgy work. Currently, it plays host to Ruthless the Musical, a story of an all-American family that becomes fractured because of a school play and Tina, the youngest member of the family, whose desire to get the lead goes too far. Ruthless is full of camp, betrayal, deceit and talent. 

The score of the show by Marvin Laird isn’t the type of score we come to expect from a show at the Arts, it is very stylised but also very cliché. The majority of the score has been overdone and over used in a multitude of shows before this, the influences are obvious. However, the book and lyrics by Joel Paley are well thought out and give the cast something to work with. The minimal amount of choreography is crisp and stylised, the direction is simple but mostly well executed. What is lacking in this show is a spark, there is nothing exciting about this show. There is a distinct lack of creativity that stifles it, everything presented here, I’ve seen before. 

Despite the shows hindrances, there are some positives. The comedic timing of all was completely spot on, the energy from the entire cast was high for the most part and the twists were well executed. I cannot fault the cast, they all delivered solid performances, with Jason Gardiner as Sylvia St. Croix as a particular stand out. His performance was stylised, well thought out and exceptionally delivered. 


Ruthless has its good moments but also its flaws. It has moments of humour and glamour but there is sadly no stand out moments. The show is good for what it is, and its message is very appropriate in the world of Instagram famous, but the material is nothing to rave about. The casting has saved this show, if the cast hadn’t carried the material like they have, this show would be a flop. They did the best with what they were given and sadly what they were given wasn’t good enough. 

Ruthless runs at the Arts Theatre until June 23rd.

photo credit: Alistair Muir



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