What’s the Buzz?
Humble Boy
by Charlotte Jones
Barnes Community Players, at the OSO Arts Centre, Barnes until 21st July
Review by Claire Alexander
Humble Boy, written by Charlotte Jones in 2001, falls into a genre of contemporary plays confronting unspoken long held family misunderstandings and secrets, exposed by grief and loss. Apologia (Alexi Kaye Campbell) and Albion (Mike Bartlett) spring to mind. Like Albion, Humble Boy is set in a garden, replete with glorious flowers as if to emphasise the lack of life and nourishment for the family that inhabits it. And throughout there is the allusion and parallel to the bees – beloved of Flora Humble’s recently dead husband, Jim. The now empty hive, a prominent part of the set, is a constant reminder to us, as the audience, of how bees’ behaviour can sometimes reflect our own. This makes for a clever and absorbing mosaic of a play that works on many different levels.
Read more…The Best? Who Nose?
Cyrano de Bergerac
by Edmond Rostand, adapted by Glyn Maxwell
Richmond Shakespeare Society at the Fountain Gardens, York House, Twickenham until 20th July
Review by Salieri
Cyrano de Bergerac, presented by the Richmond Shakespeare Society for its annual Open-Air Production is one of the most fascinating theatrical evenings I have spent. Probably the best of its previous such productions to date, it reduced the large area of the Fountain Gardens to a Theatre in the Round with the audience around its perimeter. This undoubted created an atmosphere of intimacy and led to a brilliant display by the actors, who inexhaustibly portrayed a number of different characters as the First Act proceeded. The pace was excellent and the energy of the cast was well up to the demands made upon them. One carp I had was the use of microphones, which I feel was unnecessary in such a small acting area and was not always kind to some of the female members of the cast.
Read more…Secs and the City
London Wall
by John William Van Druten
Questors Production at the Judi Dench Playhouse, Ealing until 20th July
Review by Andrew Lawston
The problem with plays based in offices is that they are very often written by people who have never, or rarely, worked in an office. John Van Druten’s play London Wall, focusing on the staff of a City law firm, benefits from the playwright having practised law for a number of years. The offices of Walker, Windermere & Co feel from the outset like a real business, and in many respects one which could still be running today with only a few upgrades to the office technology.
Throughout this lengthy play, the law firm’s business runs alongside the play’s narrative, as the cast of secretaries dash around Charles Dixon’s lavish recreation of a 1930s legal firm, with all its huge sturdy desks, paintings lining the walls, shelves stuffed with reference books, electric buzzers, and a single telephone.
Read more…Bedroom Farce
Dressing Gown
by Andrew Cartmel
Take Note Theatre and Thursday Theatre at the Theatre at the Tabard, Chiswick until 27th July
Review by Andrew Lawston
It’s the sound that everyone dreads in the morning – the doorbell ringing before we’re quite ready to face the new day. And so it is for Ash, the somewhat put-upon young theatre director who leads Andrew Cartmel’s new play at the Tabard Theatre, Dressing Gown.
Misunderstandings, innuendo, paranoia, and a parade of awkward but witty conversations ensue after producer Sheridan, or Dan, walks in on Ash in his dressing gown one morning and, eventually, accuses him of having an affair with the leading lady in the play they are working on, The Bearded Vulture. The leading lady in question being Dan’s own girlfriend.
Read more…The Boundless Bound
The Unicorn in Captivity
by Angelika May
in collaboration with Vertebra Theatre at The Lion and Unicorn Theatre, Kentish Town until 13th July, then at Theatro Technis, King’s Cross until 31st July
Review by Heather Moulson
With an effective introduction of lit-up objects being brought on stage during a blackout, and surrounding props covered by sheets, the lights go up on F, a fine art student in her final year. We also meet M, an acclaimed artist, his work driven by his mother’s death. The couple, who are on the cusp of a relationship, make the duvet and pillows at centre stage a significant focal point. With the surrounding pinned-up photos, the atmosphere is dark and interesting.
Under the consistent direction of Mayra Stergiou, and using the small performing space to its full potential on a set was designed by Eliza Podesta, the action is enhanced by Jack Hoban’s disturbing soundtrack and the sensitive lighting designed by Inigo Townsend.
Read more…Sins Sear
Accolade
by Emlyn Williams
Bill Kenwright Productions at Richmond Theatre, until 13th July
Review by Eleanor Lewis
A ‘beam me up Scotty’ moment isn’t quite what you expect to see opening Emlyn Williams’ 1950 play Accolade, but it does focus the attention and almost creates the idea of time moving on, or not.
Writer Will Trenting (Ayden Callaghan) lives comfortably in London with his wife Rona (Honeysuckle Weeks). As the wireless rings in the new year of 1950, he tells Rona he has been offered a knighthood. General jubilation and celebrations ensue, but this is not going to be as straightforward as might be hoped. Trenting has a predilection for orgies which he enjoys as and when he wants to, and with the knowledge and consent of Rona who has been aware of his habits from the day she met him. She finds him exciting without sharing that particular passion.
Read more…Not Waving but Drowning
The Drowning Girls
by Beth Graham, Charlie Tomlinson, and Daniela Vlaskalic
Teddington Theatre Club at the Coward Studio, Hampton Hill Theatre until 6th July
Review by Andrew Lawston
Three white bathtubs sit in a row on a lino floor in Hampton Hill Theatre’s Noël Coward Studio, as Teddington Theatre Club prepares to do for the humble bath what Psycho did for the shower.
The Drowning Girls, by Beth Graham, Charlie Tomlinson, and Daniela Vlaskalic, tells the tale of three Edwardian women who were married, defrauded, and ultimately murdered by the same man.
As the ghosts of Margaret (Laura Eagland), Alice (Racheal Rajah), and Bessie (Martine Neang) each erupt, gasping, from their respective baths, and the audience receives a modest sprinkling of water. The lighting is stark and harsh, the actors are wearing make-up to make their faces pallid and their eyes look sunken, leaving us in no doubt that their characters are dead.
Read more…Action Replay
Prince/David
by Yasir Senna
Razor Sharp Productions at the Golden Goose Theatre, Camberwell until 6th July
Review by Heather Moulson
A lurid blood-red poster draws the audience into this great little theatre space on New Camberwell Road for the première of Prince/David.
The initial action is set in 1999, at a long-gone pub restaurant in Ealing, where ‘Robert’, posing as a hot-shot modelling scout, online endorsements not being so visible then, offers a lifeline to Amber Da Costa, a hopeful young model. We know this will turn sinister very quickly.
Then, another drama starts with an old-school detective, DC Harewood being dismissive of the young PC Lisa Stecklen and her leads. While an authentic newsreel plays behind them, he orders the new recruit to make the tea.
Read more…Sharp Shards
One Million Tiny Plays about Britain (A Selection)
by Craig Taylor
Richmond Shakespeare Society, Junior Actors Company at the Mary Wallace Theatre, Twickenham until 23rd June
Review by Quentin Weiver
The task of reviewing one million plays in one evening is a daunting prospect for even the most experienced drama critic. Hence it was quite a relief to find that 999,972 of them had been cut for this production, leaving a hand-picked selection for RSS’s cast of young teenagers to get their thespian teeth into.
One Million Tiny Plays about Britain aren’t quite plays, or playlets, or even sketches, but are epigrammatic snippets, the sort of thing you overhear on the top of the Clapham omnibus, that make your ears prick up. They are tiny twists in the tail, but without the tail. These may be fragments but they are sharp fragments, with the cutting edge of everyday wit.
Read more…Essex Spells
The Magic Flute
by Wolfgang Amadeus Mozart, libretto by Emanuel Schikaneder
Wild Arts, the Essex Summer Opera Festival, at Layer Marney Tower, Essex until 23rd June, then on tour until 22nd September
Review by Mark Aspen
Mozart was of course a bit of a rebel. Die Zauberflöte was more or less the last opera he wrote before his untimely death in 1791 and this, his The Magic Flute, could be seen as a final act of rebellion. It was a fairy tale with a lot of spoken dialogue, rather than grand opera. It was written in German, not the courtly Italian, the language in which almost all his previous operas (apart from those he composed as an adolescent) were written. It moved away from the grandeur of Emperor Joseph II’s court, towards the showman Emanuel Schikaneder. It was not premièred in the imperial heart of society Vienna, but in the Freihaus Theater, in the definitely down-market Wieden district of Vienna, near the Wurstelprater, a public amusement park, still there today as the Prater.
It seems fitting then that Wild Arts is presenting its production of The Magic Flute in English, away from the grand opera houses in London, in the far-flung ends of Essex where the landscape dissolves in a web of rivers and estuaries. Not that Layer Marney Tower is down-market; far from it. It is a handsome grand Tudor manor house. This is country house opera in a charming location and at its most delightful. On what seems to be belated opening days of summer, the ambience of white lawn tablecloths and green lawn swards leading the eye across the wide visas of the Blackwater estuary and going on for ever, is enchanting.
Read more…
Mark Aspen 