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Reviewer's note: Many apologies but owing to the current health situation, I have been unable to attend the press review of Peace In Our Time at the Union Theatre, Southwark. Having seen the two previous productions by the Phil Wilmmott company in its celebration of the 75th anniversary of VE Day, I am certain that it will be a production that offers authenticity and nostalgia and it is with deep regret that I was not there to support this great company.

So - here is my summary which hopefully will induce others to go and see this production.

Noel Coward, Britain's distinguished dramatist presents the possible fate of Britain had she lost the war in his observational drama Peace In Our Time, a provocative piece that encapsulates the characterisation and stoicism of a people whose spirit and courage will not be defeated. Overcome in war, can they ever survive the peace? 

At this small, intimate theatre is the chance to see this forgotten drama of 1940s Britain under Nazi occupation in the first ever revival played by the Phil Wilmott company, its third production in the trilogy of the Essential Classics season. Written in 1946 and in two Acts, Mr Coward said in his introduction 'There have been other plays about occupied countries but the one thing, however, that differentiates it from other works on the same theme is the fact that the occupied country in question happens to be England, which has been neither invaded nor occupied by an enemy nation for eight hundred years.' The idea of Peace In Our Time 'was conceived in Paris shortly after the Liberation. I began to suspect that the physical effect of four years intermittent bombing is far less damaging to the intrinsic character of a nation than the spiritual effect of four years' enemy occupation.' The premise of Coward's post-war play imagines how ordinary English people might have reacted to Nazi occupation. How many would join a resistance movement? How many would become collaborators or profiteers? How many would continue their lives as if nothing had happened? An unashamedly outspoken script that thrusts character symbolism in the fore, Peace In Our Time explores the themes of resistance, resolve and identity.

Set entirely in the Shattock's London pub, The Shy Gazelle, during WWII after the occupation of Britain by the Germans, the death of Churchill and the creation of a POW camp on the Isle of Wight, we meet a body of Londoners, a sort of microcosm of English society, existing, interacting and going forward through those testing times.Over a period of four years the lives of this gathering of proud Londoners, who are doing their best in the face of adversity, soldier on. Life may wither them, they may become weary and shabby but their patriotism will not flounder: 'love of my country and hatred of its enemies, this blessed plot (Shakespeare) this earth, this realm, this England'. Jingoistic platitudes? Opinions are divided. On the one hand is the faithful patriot, on the other is betrayal as epitomised in the character of  Chorley Bannister, a self styled intellectual who shows blatant regard for the Nazi philosophy, believing it to be the best thing for England. A nation divided! 

It is in this setting (that I am sure will be shown with thought and detail) that the characters grumble about the indignity of foreign occupation, rationing and the dwindling stock of alcohol, relying on watery beer and Stubbs. Chin up and all that but beneath the mask of positivity there is a bubbling anger and frustration which allows Coward to inject moments of levity and humour.

What is most striking is that these are ordinary people who, in better times, would lead ordinary but contented lives. Thrust into this situation their management offers us insight into their characters, their strengths and their resistance. On the darker side is the torture and death of the Shattock's daughter Doris by the Gestapo, the imprisonment and escape of her brother and the loss of normality. How they deal with this is the pivot of this 1947 drama/comedy. The stiff upper lip is maintained and that might distance the reader/audience from full empathy. I would have been interested to see how the actors portrayed these emotions.
 
This is stoicism and patriotism rather than succumbing to human emotion. Life goes on, as Fred Shattock comments. We just have to bear it, cope with it and get on with it. Emotion must not block the effort.

Checking out the cast list I was intrigued to note that George Bourne, the calm officer/leader is being played by a female member of the cast. True, in theatre now, neutrality is totally acceptable and we are all quite comfortable with that but somehow an image of a pipe smoking squadron leader was how I had viewed this role. Again, I would have been interested to see how the Company portrayed this switch. Ah yes, dear Noel, times are changing and how you might have applauded.

Sitting here, typing this review, I cannot help but think about our current times in 2020 Britain. Brexit, social differences, unrest, world health. What would Coward have made of it all?

Ah, if only a cup of Nora Shattock's tea could cure all the malaise!

Footnote: The play takes its title from the common misquotation of Neville Chamberlain when he referred to having 'peace for our time' during his speech after he arrived back from the Munich Conference of 1938.
 
Listings

Playing until 4 April 2020 at The Union Theatre, Arch 22 & 23 Old Unison Arches, 229 Union Street, SE1 0LR (five minutes from Southwark Station on the Jubilee Line)

Tuesday-Saturday evenings 7.30 pm; matinees 2.30 pm Saturday and Sunday from 21 March 2020.
Tickets £22, concessions £20, under 18s £15
www.uniontheatre.biz
020 7261 9876

Last night I introduced a young friend to a dying art – variety entertainment.

‘Is it cabaret?’ he asked on the way into the King’s Theatre, having no idea what he was in for. Now he’s an ardent fan.

But in the hands of supreme professional, Allan Stewart, it’s not hard to fall under its spell.

Stewart should know what he’s doing. According to Lulu, the all-round entertainer has been treading the boards for 420 years – dog years that is!

The pop star is just one of several celebrities, including Gary Barlow and Hollywood reporter Ross King, who congratulate him on 60 years in the business during his latest Big Big Variety Show.

Sadly, after six years, it’s also his last, so Edinburghers should make the most of this opportunity to see a consummate performer in action.

He may be nearing 70 but the ever youthful Stewart has enough energy to light up Edinburgh Castle. He’s light on his feet and belts out a song like the best of them – singing with his panto mates Grant Stott and Andy Gray reminds me of The Rat Pack, though Frank Sinatra, Sammy Davis Jr and Dean Martin would never have been heard singing the comic, original songs that make up most of the show!

Comedy is what we need during these dark days and Stewart, ably abetted by Stott and Gray (whose antics remind me of Spike Milligan), provides it in spades. He confessed they had only had two days rehearsal. It didn’t matter. Their corpsing, camaraderie and schoolboy humour is what endears them to their audiences. My face ached!

Backed by the eight-piece Andy Pickering Orchestra, Stewart is not alone in providing us with first class entertainment. Also on the bill is singer Mari Wilson, who played Dusty Springfield on tour and whose hits have included Cry Me a River. It is a rare treat to hear a ‘proper’ singer and her renderings of such songs as Petula Clark’s Don’t Sleep in the Subway will certainly have the audience tripping their way down memory lane.

Vying for top comedian of the night is Mick Miller, one of the originals from the 70s series The Comedians, whose quick-fire delivery will have you praying for more.

Stewart begins the show by singing I’m Still Standing. And after starting out singing rock ‘n’ rock in Glasgow’s Barrowland at the age of 10, he certainly is. He finishes with his own version of We Are the World, and in doing so impersonates stars from all over the globe, from Miss Piggy to Pavarotti, Danny Dyer to Elvis and everyone in between. An amazing feat!

The show’s not over yet, however. Scotland’s favourite pantomime dame for over 20 years, he will be back as Auntie May in Sleeping Beauty next Christmas (on my way into the theatre I heard one woman announcing that she had just bought her panto tickets!), and in the Spring of 2021 he will be back in Edinburgh at the Festival Theatre as the Mother Superior in a tour of Sister Act, which will hopefully come to a theatre near you so you can experience for yourselves this Scottish gem (as Auntie May he has obviously got into the habit of dressing up in women’s clothes – habit. Get it!).

Meanwhile, look out for Stott and Gray in this year’s Edinburgh Fringe.

Allan Stewart's Big Big Variety Show is at the King’s Theatre, Edinburgh until March 14
Box Office: 0131 529 6000
capitaltheatres.com

Ryan Whittle and Alisa Joy as Mike and Gila: photo Kirsten McTernan

Some 40 years after it first played at London's Royal Court theatre in 1980, Paul Kember's Not Quite Jerusalem is revived at London's Finborough Theatre. At a period of social unrest in England, where Maggie Thatcher was in power and inflation stood at 17%, where trade unions were up in arms, this was a time of immense discontent amid the threat of rising privatisation. It is at this time where four English volunteers, Dave, Pete, Mike and Carrie up sticks for a 'holiday' of sunshine, sex and bagels in an Israeli Kibbutz. 

Speaking from first hand experience, I too have worked on a kibbutz and it is jolly hard graft. These four volunteers soon discovered that what they thought would be a sun filled holiday was in reality sweltering work in temperatures hitting over 100 degrees in the Negev communal farm where everybody is expected to pull their weight for the good of the community.

There are many reasons why people decide to take time out for this experience. At it s point of inception, kibbutzim were the product of early settlers who worked the land in their communal agricultural settlements, sharing everything as a member of a collective. In essence they were owned by the settlers and based on the principle of socialism, where decisions were made by those who worked there. Jobs were rotated, everything was shared. The children lived in children's houses and met their parents for only a few hours each day. Meals were eaten together in the communal dining hall. This was socialism in practice and involved workers from all sectors of society, including Israel's first Prime Minister, David Ben Gurion, who retired to a kibbutz to join the pioneers who laboured to develop the arid land of the Negev.

Now the kibbutzim have adapted in line with modern times, diversifying and including manufacturing and guest houses. Tourists and visitors may stay there and many young people will embark on a gap year to find themselves and to journey through the country. Nevertheless, the premise still holds. If staying in a kibbutz, other than a paying guest, there are certain protocols including a willingness to share the workload and to behave respectfully. Unfortunately two of the volunteers were not so inclined and reached a depth of depravity in their 'mooning' activity during a Volunteers' Day event.

The English volunteers have not embraced or endeared themselves to the life on the kibbutz. Tough, hardworking kibbutzniks Gila and Ami are pure sabra, with an intolerance of their lack of respect and unwillingness to give, only taking from the experience. Their motives were personal and their understanding of the kibbutz ethos was non existent. Pete and Dave alienated themselves from the start with their disparaging comments which would be construed as anti semitic and thus deplorable, Carrie cannot relate to the English volunteers or to her Israeli mentors and is of a highly nervous disposition and Mike, whilst experiencing difficulties in commitment appears somewhat indolent and self indulgent. In all, a strong contrast to their mentors.

And yet, as the play progresses, layers are removed and we learn more about each character as they develop. This is down to many factors, not least of which is the skilled penmanship of writer Paul Kember who won the prestigious Evening Standard Award for Most Promising New Writer with this, his first play. Complemented by the direction of Peter Kavanagh and the effective staging of designer Ceci Calf, the play takes on a vitality of its own.

There, in the small space of the Finborough Theatre, we are able to share the experience of their journey. Yes, there are moments when we laugh, moments when we are concerned and points of disgust at actions of depravity but there are also moments of high intensity and at its close the passion of both Gila and Ami moved me to tears.

A play in two acts, performed with conviction by its cast of Joe McArdle, Ryan Whittle, Miranda Braum, Ronnie Yorka, Russell Bentley and Alisa Joy, Not Quite Jerusalem has pulled it off. It may be more set in the 1980s but still manages to resonate today.

Listings

Finborough Theatre:  118 Finborough Road, London SW10 9ED.
Playing until Saturday 28 March 2020
Booking:  www.finboroughtheatre.co.uk/box office 01223 357851
Tues-Sat evenings 7.30 pm, Sat/Sun matinees 3 pm.

Running time: two and a half hours with a short interval.
  

Bertolt Brecht is not everyone’s stein of bier! The German Marxist’s approach to theatre may need a little research before you are thrown into his modernist world.

His message in Denise Mina’s adaptation of his epic comedy Mr Puntila and His Man Matti certainly comes over loud and clear: it is about capitalism and the power the rich have over the poor – nothing’s changed there since the play’s conception in 1940. However, his propensity to use harsh and bright stage lighting and, he has said, ‘stripping the event of its self-evident, familiar, obvious quality’, takes some getting used to. Instead of Mrs P’s sumptuous trappings the set consists of scaffolding laid bare (apart from several mounted stags’ heads), topped by razor wire. Mina’s version also sticks faithfully to his style of introducing exaggerated characters whose chalky faces and kohl eyes add a touch of Commedia dell’Arte, and sultry songs which interrupt the action.

Mrs P wants to marry off her daughter Eva to a ’half man, half attache’, but Eva loves her mother’s driver Matti and as the plot unwinds we see how poor and rich don’t mix, quite apart from the fact that she is young and he is old enough to be her father.

Taking centre stage in the title roles are Scottish favourites Elaine C Smith as Mrs P and Steven McNicoll as Matti.

Mrs P, as was Mr P, is a split personality: when she’s drunk she’s generous and friendly to all; when she’s sober she’s mean and nasty, and although Smith has great stage presence, I couldn’t always distinguish which side of Mrs P she was playing, and the rhythm with which she speaks at times seemed laboured.

McNicoll’s Matti is much more rounded and fun to watch, while I can only put Joanne McGuinness’s strange antics as Eva down to Brecht’s style and Murat Daltaban’s direction. He is one of Europe’s top directors so I bow to his expertise. As I said, Brecht takes a bit of getting used to.

I love Oguz Kaplangi’s eerie soundscapes, and diverse compositions which include rapping, and was fascinated by his performance, seated as he is on the upper floor of the scaffolding, the only musician and percussionist who also provides the sound effects. And Tom Piper’s design, although Brechtian, has some very interesting elements such as the ‘human’ dogs with Perspex heads. I just wonder how many pubs the crew had to visit to collect so many bottles!

Despite, or in spite of Brecht, Mina’s interpretation includes some very funny, modern, and Scottish references, ending appropriately with ‘Ye’ll tak the high road and I’ll tak the low road…’
Image: Mihaela Bodlovic

Mrs Puntila and Her Man Matti is at the Royal Lyceum Theatre, Edinburgh until March 21
Box Office: 0131 248 4848
lyceum.org.uk

In today’s troubled world, protest marches are never far from the news headlines: equality, pay, democratic reform, are all being fought for… and especially climate change where Swedish teenager Greta Thunberg’s passion has inspired young people from all over the world to react.

Back in the 1930s, teenagers were also among those on the march – for the basic rights of food and jobs. Among them was a 15-year-old from Stockton-on-Tees, Johnny Longstaff, who went on to fight in the Spanish Civil War and who later recorded his story, on six hours of tape, which is now with the Imperial War Museum.

“You’re in for a long night,” quips David Eagle, one third of The Young’uns. And I’m sure the audiences at the Traverse would have happily listened.

For this Teeside folk trio’s first foray into theatre is nothing short of spellbinding. To be honest, seeing as my field is theatre and not folk, I’d never heard of The Young’uns until last night, even though they have won the BBC Radio 2 Folk Awards no less than three times. But The Ballad of Johnny Longstaff plants them firmly in legitimate theatre, and this has to be the start of something big.

Despite their claims that ‘we are not actors but accidental folk singers’, under the notable direction of Lorne Campbell, outgoing artistic director of Northern Stage, who were behind Sting’s musical The Last Ship, they deliver a heartfelt, enthralling story for today, seamlessly interacting with Johnny’s own voice and Scott Turnbull’s enthralling animation.

As important as Johnny’s own reminiscences are The Young’uns’ original songs, penned by Sean Cooney, who is indeed a talented poet. Standing straight and strong, the three remind me of The Proclaimers with their non-nonsense delivery and Sean’s anthemic Any Bread? and Carrying the Coffin – only The Young’uns also have a real, all-encompassing theatrical experience to offer.

With beautiful harmonies, mostly unaccompanied but sometimes with guitar, keyboard and accordion in the mix, their heartrending performances are equally matched by a couple of hilarious comic songs and David’s comedic input (well, he is also a comedian!).

You could have heard a pin drop as David, Sean and Michael Hughes recounted Johnny’s adventures and the atrocities he encountered, but at times there were gasps and even cheers of approval, as well as the odd sniffle.

The Young’uns were introduced to Johnny Longstaff's recordings by his son, Duncan. ‘That’s my dad,’ he said, holding out a photo after a gig in Somerset. ‘Write a song about him.’

The Young’uns say Johnny’s tapes are inspirational. Well, so is their show. It’s a musical tribute to Johnny Longstaff and all those who chose not to look the other way when the world needed their help, and is a lasting legacy The Young’uns should be proud of.
Image: Pamela Raith

The Ballad of Johnny Longstaff can be seen from:
April 21-24 at Hull Truck Theatre
May 14-16: Liverpool Everyman Theatre

Hairspray, the smash hit musical, is heading back to the
London stage. I went along to the press launch to find out more.

Hairspray is poised to explode onto the stage of the vast
London Coliseum from April 23rd. This limited 18 week run reunites
Michael Ball with some elaborate costumes and wigs as he steps back into the heels of Edna Turnblad. The Olivier award winner first played the role back in 2007 at the Shaftsbury Theatre and now, 13 years later, Edna is back in town!

Joining Ball is comedy legend Paul Merton. Known for his
sharp wit and improvisational comedy, Merton says he is looking forward to a new challenge, using his comedic skills to extract laughs from every line, lyric and gesture. Those who know the show are already anticipating Merton and Ball’s Timeless to Me, the great comedic number of Act II.

Joining these seasoned performers is Lizzie Bea, making her
west end debut. No stranger to musicals, her rendition of Good Morning Baltimore at the press launch left those watching
wanting more and eager to see her take to the stage of the London’s largest theatre: she will blow the roof off it!

Marisha Wallace, fresh from her stint in Waitress and before that Dreamgirls, will be playing Motormouth
Maybelle. The power in her voice when delivering I know where I’ve been with a simple piano backing was phenomenal –just imagine hearing that song with the backing of a full orchestra. Fortunately,there isn’t too long to wait!

Tickets are already on sale and moving fast. Hairspray is a
rare show, described by producer Adam Spiegel as an ‘explosion of joy’ and ‘magical’. This is not PR talk, he is speaking from the heart and speaking the truth. A real feel good show with a heart and an important messages of acceptance and tolerance. Book now to avoid disappointment. 

In 1953 Alfred Hitchcock directed the film version of Frederick Knott’s first ever play. And director Anthony Banks has obviously turned to him for his inspiration in staging this production from Simon Friend Entertainment and Cavin Kalin Productions.

Discordant music, reminiscent of Psycho, rises to a crescendo as Knott’s plot begins to unfold in a Fifties flat in London’s fashionable Maida Vale, and Hitchcock’s influence prevails throughout the evening with dramatic performances, and lighting which literally throbs blood red at appropriate moments.

Tom Chambers and Christopher Harper may be best known for their appearances in the likes of Holby City, Casualty, Midsomer Murders and Coronation Street, but their acting in this production belongs to the period. Set in a flat retro-enthusiasts would give their eye teeth for, they appear, by today’s standards, melodramatic, their delivery and movement exaggerated – and it works.

Chambers, as Tony, the cuckolded husband who plans to have his wife murdered, is earnest and gushing in his attempt to fool her that he is a model husband, while Harper convincingly plays a ne’er do well former school friend chosen by Tony to do the deed, while later reinventing himself as a detective inspector from the north of England.

Into the mix is Sally Bretton as Margot, Tony’s wife, and Michael Salami as Max, the TV crime writer with whom she is having an affair. All adhere to the period, where a car cost £1,100 and £60 was looked on as a lot of money. But what gives the production authenticity is Lizzie Powell’s convincing ‘natural’ daylighting (though the sunset is a bit too pink).

Twists and turns abound as everything, of course, does not go according to plan, including some oversights: did Margot really go into the open plan kitchen dressed in pyjamas and come over fully clothed? And her handling of a bouquet looked like a magic act as she laid it down, fully wrapped, behind a counter, and then produced the flowers already in their vase. And were thick black tights in fashion in the 50s? I think not.

Image: Manuel Harlan
Dial M for Murder is at the King’s Theatre, Edinburgh until February 29
Box Office: 0131 529 6000
capitaltheatres.com
It then continues touring:
Mar 3-7: Theatre Royal, Glasgow
Mar 10-14: Salisbury Playhouse
Mar 17-21: Churchill Theatre, Bromley
Mar 24-28: Palace Theatre, Southend
Apr 8-11: Dubai Opera House
Apr 14-18: Milton Keynes Theatre
Apr 20-25: The Alexandra Theatre, Birmingham
Apr 28-May 2: New Theatre, Cardiff
May 4-9: Leicester Curve
May 12-16: Sheffield Lyceum
May 19-23: Liverpool Playhouse
May 25-30: Theatre Clwyd, Mold
June 2-6: Theatre Royal, Brighton
June 9-13: Theatre Severn, Shrewsbury
June 16-20: The Lowry, Salford
June 22-27: Royal & Derngate, Northampton
June 30-Jul 4: Theatre Royal, Plymouth
Jul 8-11: Leeds Grand Theatre
Jul 14-18: Grand Theatre, Wolverhampton
Jul 21-25: Oxford Playhouse

Jamie Samuel and Megan Winterburn in The Incident Room: photo Guy Sanders

It is the stuff of horror movies - unknown killer who mutilates his victims. Except this is no work of fiction but historical fact. It is the case of The Yorkshire Ripper, Peter William Slutcliffe, who took on a legendary and undeserved persona, much like his predecessor Jack The Ripper, as the press and public strove desperately to expose his identity over his five year reign of terror. There had been numerous theories, accounts and accusations until his long awaited arrest where all could breathe more easily, knowing at last he had been incarcerated despite being interviewed on nine previous occasions and released each time.

Co-directed by Beth Flintoff and David Byrne, The Incident Room written by Olivia Hirst with David Byrne approaches this moment in history from the angle of the West Yorkshire Police team who were criticised for their failure to catch Sutcliffe over a bungled and inefficient investigation. Was this prolific serial killer caught by the perseverance and tenacity of the force led by Inspector George Oldfield and its sergeant Megan Winterburn and Detective Sergeant Dick Holland? It would seem only partly so. Found guilty in May 1981 of the 13 violent murders, Sutcliffe had been able to continue on his rampage because of the inefficiencies of the team and his capture was possibly a lucky break. His arrest can be attributed to two bobbies on the beat who were carrying out their routine rounds when they saw this suspicious individual and apprehended him, ultimately leading to his conviction.

As researched by the Creative Team, despite his incarceration, there would be no peace for his victims. Not for those who worked the case and who would forever be haunted by self-recrimination, regret and guilt; not for the one survivor Maureen Long who craved anonymity and normality but would never achieve it and not for the journalists, friends and family who were caught in this web of horror.

Most poignantly in the final moments of this devised drama was the scene with Megan and Maureen as they rued the lost lives of these 13 women: of the dances they would never enjoy, of the shopping they would never do, of the waiting for buses that would never be or the fun times with friends that they would not share. And all because of the bungling investigation, missed clues and blind sightedness of those responsible for the chase.This was a powerful epitaph written touchingly by Hirst and Byrne, capturing the raw emotion of this heartbreaking story of lost lives and freeing it from the filing cabinets of the incident room. Maureen would always be a victim, despite her surviving the attack; Megan too would be a victim to the guilt and oppression experienced as a woman in a male dominated force and the deaths of the 13 women would be an eternal stain on the police force.

In Patrick Connellan's set full of filing cabinets, creaking at the seams with unfathomable quantities of paperwork that would need to be sifted through in their quest to capture the murderer, the strain and frustration of the hunt was etched clearly on the faces and in the movements of the cast. The New Diorama Theatre affords a proximity in its studio layout and is an ideal setting for this production, allowing the audience to share those moments and to engage with the actors.
 
In tune with the 70s, the production has captured the male toxic machismo of the day and the misogyny that prevailed in so many formal institutions, in particular the police force. Unlike so many productions that we see in theatre and on television, where women take lead roles and supervise their male teams, this was not the case back in the day. Women were fighting for equality and inclusion and this strand forms a central theme here. Megan was a victim of male prejudice and the murdered women were likewise.

Such was the arrogance and bias of the force at the time, who laid blame on the sex workers as 'asking for it' because of their life style and so denied the investigation the gravitas it needed, missing so many initial clues. It was not until the murder of 16 year old Jayne MacDonald that they stepped it up a notch, shown clearly in Inspector Oldfield's comment that it was time to take things more seriously 'now that an innocent woman is dead'. Such blind judgement was unforgivable and contributed to what might have been avoided.

Thoroughly researched, effectively staged and played with conviction by the devising cast of 7, this 2 hour plus production was a powerful homage to the memories of those women and to what might, no should, have been. The Incident Room is a powerful drama that deserves a place in our theatre as an acknowledgment to those victims who were so betrayed.

Listings

New Diorama Theatre, 15-16 Triton St, London NW1 3BF - close to Warren Street/Euston Square stations.
Playing until 14 March 2020
Tue - Sat 19:30 hrs Sat afternoon 15:00 hrs
Running time: 2 hours 25 minutes (including an interval) 
Ticket price £16
newdiorama.com
Tel: 0207 303 9034

Paul Hunter (Albin), Mark Cameron (Zorba) and Michael Matus (Georges): Photo Mark Douet

La Cage Aux Folles/The Birdcage, call it what you will, but of course we have (most of us) seen it as the Jerry Herman/Stephen Sondheim musical, as a film with Nathan Lane and Robin Williams or as the play in its own right. Simon Callow, veteran and beloved actor, has offered a new translation of this fabulous, laughter packed story, keeping close to the original premise of Jean Poiret. Directed by Jez Bond and starring Michael Matus as Georges, Paul Hunter as his partner Albin and complemented by Sarah Lam, Syrus Lowe, Peter Straker, Mark Cameron, Arthur Hughes, Simon Hepworth, William Nelson, Georgina Ambrey, Louise Bangay, Paul Hunter and Peter Straker this adaptation is making its appearance at the fabulous Park 200 Theatre in London's Finsbury Park, where the audience can get up 'close and personal' to the glitz of this entertaining production.

To recap, nightclub owner Georges and his dazzling drag artiste partner Albin are notorious for their spectacular shows in St Tropez. Their home is all embracing of their sexuality, no closet here. Enter their straight and dare I say utterly selfish son, Laurent, who is to be married to the daughter of an intolerant right wing politician who, with his wife, is determined to clean up the town. And so begins the farce. Anxious to protect Laurent and ensure his happiness with his fiancée, Georges and Albin must play the straight game to convince their prospective in-laws. Sadly the closet must be forced which goes against the very essence of their being and compounds their generosity of spirit. Of course this cannot work - so let the laughter begin. 

Opening onto an opulent drawing room in sunny St Tropez,we are treated to deliciously camp trimmings and Norma Desmond staircase, resplendent with portraits of many an idolised Hollywood star and surrounded by Art Nouveau knick-knacks. This is the glitzy realm of Georges and Albin. And it is not just the apartment that is sparkling. The costumes glitter splendidly as does the portrayal by this delightful cast. What's not to like! Tim Shortall certainly went to town with his luscious set design and costuming.

Despite a few hiccups along the way, there were strong performances particularly from Michael Matus, Paul Hunter and Syrus Lowe. Body and soul were thrown into the ring and they gave it their all. The sight of gay butler Jacob (Syrus Lowe) struggling to walk in his 'man shoes' and giving the impression of Julie Walters in her role of Mrs Overall still has me laughing, some 24 hours later. Equally the macho butcher Zorba expounding the beauty of fine art as he strutted around the set in blood soaked aprons; terrific performance by Mark Cameron. Exhausting performances but exhilarating nevertheless. Feydeau would have  been proud, particularly towards the end when it all turned on its head. But enough of that, you will just have to see for yourselves.

Be prepared for 2 hours of fun and farce. I don't think I can better the thoughts of Callow: 'La Cage Aux Folles is a great - and brilliantly funny - play about living the life you want to live. It's also a bit of an eye-opener about what it was to be out and gay in the early seventies. It's zany, outrageous, mad. A rampant and sentimental farce.'

Listings

Venue: Park200, Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 12 February - 21 March 2020
Age guidance: 16+
Performances: Mon-Sat evenings 7.30 pm. Thurs/Sat matinees 3.00 pm. Audio Described Wed 18 March 7.30 pm.
Prices: Standard: £l8.50 - £32.50; concessions £16.50 - £23.50
Booking: www.parktheatre.co.uk tel: 020 7870 6876 (10% telephone booking fee, capped at £2.50 per ticket) 

Loneliness is the scourge of our society. We may not be alone in the world, and have family and friends, but technology and the pressure of modern living often mean that we forget how to communicate.

Such is the idea behind Sally Abbott’s bittersweet play about people who struggle with relationships. It is about letting go and holding on, and Frantic Assembly’s production (with the Theatre Royal Plymouth and Curve) conjures up a fractured society, illustrated by Ella Wahlstrom’s discombobulated soundscape and Morgan Large’s set, which consists only of huge oblongs of opaque glass, implying the barriers people create for themselves. However, a significant part of the play is taken up with the actors pushing these obstacles around in a sort of bizarre dance, and although they are meant to set each scene, I found this distracting and awkward.

I have no such qualms about the performances, however. In spite of the lack of any traditional set, every well-rounded character totally draws you into their story. They may have trouble expressing themselves they actors certainly don’t. Not one of them failed to leave me with a lump in my throat.

There’s Chizzy Akudolu as Josie, a mum who mourns the death of her dog more than her father, while holding on to her son Manny ( Caleb Roberts) who is fighting against going to university; Charlotte Bate as hospice nurse Ange and her alcoholic sister Clare (Polly Frame), who haven’t spoken to each other for years; Bex (Simone Saunders), who is facing cancer with positivity, and cabbie Graham, played by Andrew Turner in a performance I found most moving as he visits some very dark places.

All go on huge, heartrending journeys, which many audience members may identify with. But such is the skill of Sally Abbott’s writing and Kathy Burke’s co-direction that every downer is swiftly followed by an upper and I Think We Are Alone is beautifully balanced between pathos and humour.

I Think We Are Alone is at the King’s Theatre, Edinburgh until Feb 22.
It then continues touring:
Feb 25-Mar 21: Theatre Royal, Stratford East
Feb 24-28: Curve, Leicester
Mar 31-Apr 4: Nuffield Southampton Theatres
Apr 14-18: Yvonne Arnaud Theatre, Guildford
Apr 21-25: Northern Stage, Newcastle
Apr 28-May 2: Bristol Old Vic
May 5-9: Oxford Playhouse
May 12-16: The Lowry, Salford

Josh Barrow and Elliot Liburd as Nemo and Daz: photograph Gail Harland

On the Norfolk coast is the quintessentially English seaside town of Cromer, once home to writer James McDermott. Not a trendy night club society but more a traditional family holiday location where English 'caffs' sell English home produced fare on checked plastic tablecloths. Most famous for its pier, fishing industry and the Cromer crab, this town is quaint and charming but also struggling against the onslaught of coffee and supermarket chains which threaten the very existence and traditional livelihood of the locals. Do the residents stand back, accept and embrace the changes or do they resist them and fight back? Such is the setting of Time and Tide directed by Rob Ellis and starring Wendy Nottingham as May, Paul Easom as Ken, Elliot Liburd as Daz and Josh Barrow as Nemo. 

Coming from that area, McDermott has painted a picture of a town struggling to survive against the tidal onslaught. Frustrated that so many productions portray working class life and characters as stereotypes in over-exaggerated plots, he is intent on offering a reality of their mundanity, where nothing much happens and where routines and rituals are their norm. 

We are witness to the frustrations and fears of the characters as they go forward, facing not only the physical changes that are taking place around them but also coming to terms with the personal challenges that confront them in this brave, new world. Should they push forward or should they retreat and succumb?

May, lovingly portrayed by Wendy Nottingham, has spent most of her adult years caring for her mother. She has taken a new lease of life in her Norfolk home as owner of a small 'caff' depicted beautifully in the small space of Park 90 through the clever set design of Caitlin Abbott. Her caff may not have many customers, it may be potential prey to Pret a Manger, but it holds a special place in her heart. Living on her own this is her life. It is here that she can dream her Bette Davis dreams, where she can sing her songs, knowing that they will never materialise but secure in her fantasies. At the same time she recognises that this does not work for everyone and does not hold back from encouraging her protegee assistant, Nemo taking up a place in a drama school in the metropolis of 'that London' and becoming the next Judi Dench! 

Nemo's approaching departure is the catalyst that sets in motion the disclosures that have been so long hidden by the four characters. A major strand in this drama of 'changing times and spreading wings' is  the strong influence of his 'coming out' and his decision to move away and relocate. He lacks confidence that quiet Cromer will be quite as accepting of his sexuality and believes London will be more embracing. His friend and co-assistant Daz, who is struggling to accept his own sexuality, is devastated that Nemo is leaving. Add to the mix Ken, a frustrated local baker and delivery man, who is terrified of the changes that are speedily taking place in his beloved Cromer and May, who at last has the courage to 'come out' and we have the exhausting turmoil of this quartet who stand at their own crossroad, evaluating their lives and making decisions on their future.

This is a demanding play of its cast who shift through the various stages of development. At one moment they delight in dance and song, at another terrified of what is to come. Skillfully presenting these interconnecting themes, McDermott has depicted a complexity against which so many struggle as change forces itself upon them.

Moving at a slow pace, the portrayal is effective. Not only are we invested in the characters but also in the setting of the dying caff where the smells of cooking bacon and brewing coffee permeate the intimate space of Park 90. Voyeurs to their lives, it seems that 'nothing happens, yet everything happens'. With sterling performances by these four actors, the shared secrets are authentically presented and this cast was certainly deserving of the standing ovation received at the close of the piece.

Leaving the theatre, I felt the more determined to shun the coffee chains and seek out the independents for my next espresso.

Listings

Park Theatre, Clifton Terrace, Finsbury Park, N4 3JP
Dates: 5-29 February 2020
Age Guidance: 14+
Performances: Mon-Sat evenings 7.45 pm. Matinees Thurs and Sat 3.15 pm.
Prices: £18, concessions £16.50. 
Booking: www.parktheatre.co.uk / 020 7870 6876 (10% telephone booking fee)

Running time: 1 hr 45 mins (incl 15 min interval)