Busy

My usual excuse for not blogging is to do with being busy - well I have been lately. Honest. Thankfully the last few weeks have involved some cracking shows from some of the most unexpected places. It's fair to say that I manage to see lots of shows in many different venues but two shows caught my eye recently that were simply exceptional.

Firstly, Into The Woods at Ye Olde Rose & Crown in Walthamstow. I first saw this show a gazillion years ago at the Redgrave in Farnham and while I didn't fall in love with the show, parts of it stayed with me including Sondheim's concept and a few of the numbers. Since then Giants InThe Sky has been a staple at graduate showcases and of course, the Stephen Sondheim Singer of the Year Awards. Tim McArthur's eloquent production reinvents the concept of the fairy tale and equates the 'I Wish' characters with reality TV stereotypes. It's a HUGE gamble but McArthur pulls it off in style. Catch it if you can as it runs until October 31st

Light years away from Walthamstow, I was extremely lucky to have caught Gypsy at the Festival Theatre in Chichester. I seem to have been waiting ages for this production - it had been rumoured for at least two years - and the West End has not seen a production since Angela Lansbury in 1974. Its unlikely I am ever likely to see a better production of this, one of my favourite shows. The design, orchestra, performances all wonderful, particularly Lara Pulver as mother damaged Louise and especially Imelda Staunton as a slightly unhinged Momma Rose. Seriously stunning work from Imelda that should - if and when the show comes to London - win her every award going. Sell your children for a ticket! 

Going Cabaret

As you may, or may not know at the moment, I am currently one of the judges for the London Cabaret Awards. Now in their 9th year, the awards have been set up by that doyenne of the cabaret scene Paul L Martin, in order to celebrate the vast array of cabaret on offer in the capital. It's a hefty task to undertake but fortunately I am not alone and my fellow judges and I welcome all applicants for consideration. If you are performing in London and one of us can make it, we'll do our utmost to get there.

As if Paul L Martin wasn't busy enough, he is also organising The Cabaret Convention - a massive 'get-together' of cabaret folk, which takes place in London every year. For those new to the business, it offers so many possibilities in terms of networking and gives you a chance to chat with people who are actually making a living as performers. Classes, panel discussions, cabaret films and choirs - I am currently in the process of persuading Sean to do a feather demonstration, which will be a must for any designer!

Put simply, if you want to take your cabaret career seriously, this is the perfect place to start!

To book tickets or to find out more about the convention then check out their website after the link.

All Over The Place And In Between

I popped over to the King's Head Theatre in Islington last night to catch the two productions that are currently running there. My hopes were fairly high, as the days of London lacking during the Edinburgh Festival had been all but dismissed thanks to several well placed productions and the Camden Fringe Festival, now in its 9th year.

Ruby In The Dust's production of Lady Windermere's Fan has been transformed to the 1930's because - according to the director Linnie Reedman -  the original period of the 1890's is not considered accessible any more. Personally I have to ask are the 1930's anymore accessible than the 1890's?

I don't think that they are and for me, the change makes the play seem remarkably thin. In her attempt to make Lady Windermere a 'modern' woman, she appears foolishly rash, oddly thick-skinned and I found Ellie Nunn's performance awkwardly anachronistic. And don't get me started on the hair! The men faired a little better although the dandy Cecil Graham seems slightly out of place in the 1930's but I particularly liked Graham Hoadly's Lord Augustus - who seems to transcend any era.

The second show of the evening proved a little more straight-forward. Between by Oskar Brown apparently had sell-out runs at Edinburgh, Brighton and Cape Town and bills itself as the 'Sexy South African, Sell-Out Sensation' - gotta love those marketing guys.

In actual fact Between is a sweet little story that touches on issues of male sexuality from puberty to adulthood. Author Brown also acts in the short play opposite Nicholas Campbell and while it is neatly delivered, with both lads switching tops as they slipped between characters, the narrative remains a little muddy and inconclusive in places.

Pretty to look at but not nearly as bright as it's rack of four and five stars might suggest, but certainly worth a look if you are in Islington late at night.

Names To Keep An Eye On

As the frenzy of the last few months dies down, I thought I highlight a few new writers who I believe have very bright futures ahead of them. Firstly, my time at the Lost in May for the One Act Festival introduced me to several thought provoking dramatists, including the two eventual winners Jennifer Sarah Dean and Victoria Gimby.

Gimby's By Virtue Fall pursued a deeply complex moral dilemma involving the Roman Catholic church and young couple expecting their first child. It's a fascinating study of the human moral compass and thoroughly deserved a winning place in the popular festival. Without registering it, I had already seen Jennifer Sarah Dean's work the previous year with In The Loop. This year, What If was a beautiful play, which told the story of Jamie, a young man who is unable to suppress his actions or thoughts. Beautifully directed by Elizabeth Kent and with thrilling performances, What If is both heartbreaking funny and deeply moving.

I first ran into Jim English at the 2013 Spotlight Showcase, where he had been nominated for the prize. Oddly, his writing appeared also in the 2014 Spotlight Showcase with Chloe Levis as the frustrated supply teacher in his Memoirs of an Actor. He invited me - very kindly - to visit his latest play The Words I Should've Said To Phoebe Lewis and aside from the restrictions of the Phoenix Artist Club the play was an absolute joy. Neatly crafted and faintly whimsical, Phoebe Lewis is an astonishingly accomplished calling card for English and shows much promise for the future.

Finally, I recently caught The Picture of John Gray by CJ Wilmann at the Old Red Lion, a story set at the end of the 19th Century depicting the lives of a selection of gay men in society. This thoroughly absorbing drama is particularly well crafted and I found it curiously similar in form and purpose  to My Night With Reg, which is currently being revived at the Donmar.

After its short run at the Phoenix Artists Club as part of the Camden Festival, Phoebe Lewis is returning for a one-off performance on the 18th of August and I urge you to try to get along. The Picture of John Gray continues its run at the Old Red Lion until August 30th.

Musicals, musicals, musicals

The production of new musical theatre has been shifting of late. The West End, with its lofty venues and even loftier seating capacity was once the goal of every aspiring producer or composer. It is true that Andrew Lloyd Webber and Cameron Mackintosh have left a legacy of grants and funding to encourage new musical writing but the West End is not the place to catch these new works.  

More and more often regional theatre and the London fringe are the platforms used to see this new work. They are invariably smaller venues with established audiences where musicals can be workshopped, gain audience reaction without risking vast amounts of money. In the last couple of years we have seen several major new West End musicals open and close and happily I have managed to catch them. Betty Blue Eyes, Stephen Ward, From Here To Eternity all closed before schedule and now I Can't Sing joins their ranks.

To quote Mark Shenton (and I don't do that too often), critics don't close shows - producers do. Musicals have always been a business risk and the canny businessman knows when to invest and when to pull the plug. I feel so badly for the cast and crew of I Can't Sing, as two weeks notices seems extremely harsh, but I am confident that such a talented team will not be unemployed for long.

Despite all my X-Factor prejudices going into the theatre to see I Can't Sing, I ended up recommending it to anybody who asked me what to see in London at the moment. I hope to God that an original cast recording has been made as I found the score particularly well crafted and, of course, Cynthia Erivo's vocals utterly amazing.

Moving on, this week saw the opening of Best Of Friends at the Landor Theatre in North Clapham. A show with an intriguing history, Best Of Friends should have opened at the Arts last year with the title The Golden Voice and starring Darren Day. The Golden Voice failed to materialise and The Stage gave full coverage to the producers failure to secure investment and eventual arrest on suspicion of fraud.

It all looked a pretty shabby affair and I couldn't help feeling sorry for all the cast, crew and creatives embroiled in that debacle too. Having seen Best Of Friends at its press night over the weekend one thing is certain - it was in no way, shape or form ready for a West End production. In fact, I felt that even this version at the Landor gave it stronger production values than it was ready for.

The book is seriously flawed and while a few of the songs aren’t bad, this is a musical that is in dire need of rewriting. To make matters worse, Fogarty has decided to take one of the lead roles himself and he - seriously - is no actor. If it was an issue of money then his attempt at playing the role was a false economy indeed.

I am a big supporter of new musical writing but I find it more and more difficult to lavish compliments on pieces simply because they are a) British and b) New - especially vanity projects such as this. The best thing I can genuinely find to say to Nick Fogarty about his musical is find a collaborator to re-write your book. Then come back for more rehearsed readings until it's in a decent shape.

"You calling me a skank?"

I have to admit that I actually had to look up what ‘sket’ means in the ever enlightening Urban Dictionary. It wasn’t pleasant and as the venue for this play was the sexual health clinic in Southwark, I had to really push myself to venture out on my only official night off this week. As is so often the case, I am so glad that I made the effort.

After several minutes circling the grim municipal building on Burrell Street trying to find the entrance, I suddenly realised that the shiny, glamorous arches conversion across the road was actually the venue. Gosh! Sexual health clinics have changed a lot in the last decade. 

It was great to be greeted by a smiling Prav MJ, the director of the piece and founder of Liminal Space Productions who explained a little more about this project and it was even more encouraging to see the place filling up for the rehearsed reading. Written by Maya Sondhi, Sket takes an uncompromising look at sex and sexual identity from the point-of-view of young, contemporary urban teenagers. With issues and experiences lifted from real life, Sket uncovers the dangers of cyber bullying and how the battle of the sexes has taken a leap backwards into the murky trenches of social networking.

Sondhi’s written style is concise and engaging, employing the recognisable vocal patterns of south London’s youth - think Catherine Tate meets Kidulthood. There is plenty of humour but the main thrust of the story centres on peer pressure and the lack of self-esteem rife among young teenagers in an age where privacy is simply not an option.

Running at about one hour, there is definitely room for exploring a little more of the back-history to these kids lives. The denouement may be shocking - no spoilers here - but there is room for plenty of foreshadowing at the beginning that will only improve the structure. The rehearsed reading featured an excellent cast of young, talented actors and this is certainly a project that Sondhi and Liminal Space Productions need to take further. If you don't believe me, catch the reading for yourself here - who knows, live streaming rehearsed readings may be the best way to get new projects off the ground in future.

Brompton Bound

The Drayton Arms Theatre is currently operating under the auspices of Gene David Kirk, late of the Jermyn Street Theatre. I cycled over there on Monday night to catch All Alone, an experimental piece of nightmare proportions that examines themes of internet trolling. Written by Kirk, the work is achingly graphic and features three actors who really went for it in a way they probably won't get to do too often. Experimental drama at it's most dramatic!

Yes it was hard work and no, it didn't really appeal to me in narrative terms although I do value the point it makes so very, very clearly. Aside from checking out the new space - quite near the Finborough so it will undoubtedly have an automatic following - I also bumped in to Alexis Gregory, who I hadn't seen in years but who I had just started following on Twitter only a couple of weeks before.

As it happened Alexis, who I last saw on stage in Stonewall, Rikki Beadle-Blair's remarkable adaptation of his own screenplay, is about to have test his new drama there entitled Bright Skin Light. Sadly I can't make it this week but I'll keep an eye on it's progress and hopefully catch the play at a later date.

Way Out West End

It's been another packed week of theatre and theatre-folk, while I've been trying frantically to keep up with my training regime. It's mad really, when I consider that a couple of years ago somebody asked me how often I train - how I laughed! I had always imagined that one 'trained' for something - I just swam lengths of the pool to allow myself more cake. However, I am training now, or rather it's a more formalised way of working out with instruction and advice. Here's hoping....anyway, I digress so back to theatre talk. 

Of course the biggest news this week has been the announcement that The Full Monty will be closing much earlier than was scheduled - much earlier. On the back of Stephen Ward and From Here To Eternity also closing early this was very much news as critics had recieved it warmly but felt it was going to be a popular hit no matter what they wrote/tweeted/blogged.

Some of the team have started publicly apportioning blame - mainly at the producers - but ultimately we have to assume that the tickets simply weren't selling. A Facebook campaign to stop it from closing is all well and good but tbh, it's pointless without the sales to back it up. Personally I find it interesting that nobody appears to be blaming a recession for a lack of tickets sales on this project and others. 

In other news, I caught Invincible at the Orange Tree and Away From Home at the Jermyn Street last week. Invincible is a 'must-see' and in all honesty, I could easily imagine it coming into town. Away From Home I found slightly derivative - I saw two one-man plays on the subject of football and theatre last year at the Lost. It did however hammer home the point that even the Church and the Armed Forces are making headway where sexual equality is concerned so why are the FA doing sweet FA about the problem. 

Award Night Fever

It's been a few weeks since my last post with all sorts going on in and around London's theatre community. The What'sOnStage Awards may have offered few surprises in terms of winners and it was great to see the likes of Daniel Radcliffe, Rupert Grint and David Walliams turn up to collect their awards. However Danielle Tarento, accepting the award for Best Fringe Production (Titanic) reiterated the dire need for musical directors recognition at these events. A fact musical director Tom Deering then appeared to hammer home by promptly falling into the orchestra pit. It stopped the show but Trouper Deering clambered back on stage to see the rest of the evening out before heading off to A&E.

Before Mr Deering had even time to rest his aching baton, the great and the good turned up at the (thoughtfully child-proofed) Unicorn Theatre for the Off-West End Awards. Boasting less of a star turn-out this year the awards celebrate all that is great and good in London's independent and Fringe venues. Having sat on the judging panel for the Offies, it is intriguing to see how they have progressed and to note patterns that have emerged as the theatrical landscape changes. Congratulations to all the winners, not least Danielle Tarento and Thom Southerland for the Titanic again and also Michael Strassen for his Best Director nod for the work he did on Billy!

Sadly all of this award-winning glamour was eclipsed within 24 hours by one woman - Adele Dazeem - oh well, bring on the Oliviers!

See How They Laugh

The second farce of the week for me kicked off at the Churchill Theatre in Bromley. I am inordinately fond of the Churchill as is has all the usual perks of a modern provincial theatre - comfy seating, reasonable bar and lots of space - and it’s only a short bus ride from my home in Sydenham. Part of the Ambassadors Theatre Group, the Churchill will often feature either big shows on their way to the West End or productions heading out on tour. 

This week featured a major television and film actor embarking on a tour of his own production of the classic British farce See How They Run. There is nothing particularly remarkable about this except that the actor is Warwick Davis and his company consists of equally short actors working on a reduced height set. Davis goal behind setting up his Reduced Height Theatre Company is to open up roles to short actors, which might not be available to the in conventional theatre. 

Davis is probably the highest profile short actor in the country at the moment, thanks to staring roles both on film (Star Wars; Harry Potter; Willow) and mainstream television (Extras; Life’s Too Short). Despite this, Davis’ stage work so far has been limited to pantomime and more recently as stint in Spamalot. Undeniably an accomplished film actor, I found Davis was being acted off the stage in See How They Run by his leading lady Rachel Denning and by fellow performer Phil Holden. The important thing is that Davis saw where the stage talent lay and made sure it took pride of place, with himself in the decidedly less showy role of Reverend Toop. Either way, Davis lending his name and talent to any theatrical venture should be good news at the box office.

Aside from the undeniable pleasures of this creaky old farce, it is difficult to see what a company of short actors brings to the table here. I am undoubtedly impressed with the companies ability to maintain the pace and energy of a farce but I couldn’t help thinking that if Davis wished to showcase previously un-noticed talent, why on earth did he choose something so eminently low-brow. When I see any revival, I hope to be able to catch something new or find a reason as to why the producer and directors have chosen the play. I didn’t really catch it here and it left me in a quandary as to how to approach a review. I think in the end, I have given it the benefit of the doubt in anticipation of future work. 

It's About A Gerbil Called Gaylord.......

Farce is a notoriously difficult theatrical device to pull off. Aside from exceptional/visionary writing it requires a gifted director to choreograph the business and equally talented actors who understand the concept and can meet its physical demands. As it turns out, this week I have been to see two farces, each very different in nature and with varying degrees of success.

For the second year in a row, the From Page To Stage season has popped up at the Landor Theatre in North Clapham, to showcase a selection of new musical theatre writing. Produced by both the Landor and Katy Lipson’s Aria Entertainment, From Page To Stage is an excellent platform for new writers, allowing their work to take a step forward in the development process. 

From more than 120 submitted applications, Lipson and her team have chosen a broad mix of musicals, at varying stages in their development and a host of talented performers to perform them in either rehearsed readings or full production. So on Wednesday evening, I witnessed the premiere of Before The Night Is Through Olivia Thompson and Chris Whitehead.

Set in 1935, Honey Quenelle is England’s most glamourous movie star. Already an heiress of considerable wealth, she is hampered by idle relations, un-cooperative producers, jealous co-stars and unreliable catering. Thankfully she can always rely on her trusty butler Hugo to pour oil onto troubled waters but even he is stretched to the limit when news arrives of an escape from the local lunatic asylum.

Olivia Thompson is to be congratulated for developing a uniquely bizarre original story on which to hang her musical. There are some nice touches and thoughtful character development and the narrative itself divides neatly into a two-act musical format. The world Thompson creates for us is that of a heightened reality, with instantly recognisable comic characters, each with a viable - if slightly absurd - back story. The skill of the writer, especially when writing in this style, is to try to avoid huge swathes of exposition. Exposition may establish a backstory but without care and attention, it can sound desperate, clunky and should be avoided as much as possible. 

Before The Night Is Through, delivers a huge amount of exposition before a note is even sung and doesn’t really let up until the denoument. There are some fun, catchy musical numbers along the way but ultimately the balance of book against music is too one-sided and could bear some serious editing. I would recommend as an exercise, to either blue pencil any irrelevances to the central plot to see how far down the script can be paired and still make sense OR to remove all exposition and see what happens then.  

These are simply writing exercises designed to streamline an idea rather than alter the style or pace. Keep you farce as gloriously absurd as it is, just sharpen the writing to create a better balance with the score - this is musical theatre remember.

On a much lesser note, consider the title of this show. One of the worst things I have ever seen on stage was called What Happened Last Night, which only fed the plays many critics with fuel for amusing headlines the next morning. This musical is no-where near as flawed as that play but you really don’t need to give possible detractors a helping hand.

I shan’t comment on the performances, as this is essentially a showcase for the writers but needless to say, the talented company showed a great deal of dedication to the work and an evident affection for Thompson’s quirky comic style.

One Over The Eight

I will be the first to raise my hand and admit that I know jack all about dance. I like to think that I recognise the beauty of dance and I can appreciate how good choreography will inform the narrative of a musical. However, when it boils down to the nitty-gritty of dance criticism, I wouldn’t know a tendu from a plie.

With this in mind I was excited although a little apprehensive about attending Drunk at the Bridwell last night. Drunk is a new musical/dance cross-over piece by Drew McOnie and Grant Olding, performed by the newly formed Drew McOnie Company. On the simplest though perhaps most accessible of subjects, McOnie contemplates the character of various alcoholic drinks, while a girl waits for her date in a bar during happy hour.

McOnie has gathered a team of highly accomplished performers - strong vocalists and energetic dancers - who weave an entertaining, articulate story bursting with character. Gemma Sutton, a powerful singer recently seen playing Roxie Hart at the Leicester Curve, frames the story with tales of past love while each member of the company punches out a routine that characterises Shots, Lager, Gin & Tonic, Champagne….you get the picture.

A satisfying score by Grant Olding features a broad mix of styles that sweep through the bar and rest easily on the ear. The lyrics are both witty and engaging – anyone who can rhyme libido with speedo is a winner in my book – and despite the light nature of the piece, there are moments of intimacy and introspection included that help balance the score.

Shored up by a boisterous five-piece band and a prescient design from Ryan Laight (set and costume) and Richard Howell (lighting), Drunk is a fascinating premiere from the Drew McOnie Company, whose future I will watch with great interest.

Im Cabaret, au Cabaret, to Cabaret

Last night I attended The London Cabaret Awards, an annual event that focuses on the myriad of alternative cabaret acts that make up the core of London’s light entertainment scene. While I do attend a great deal of cabaret in London and indeed covered the London Festival Of Cabaret last year for The Stage and Musical Theatre Review, I wouldn’t say that I was conversant with the alternative scene. This said, I was pleasantly surprised by the amount of friends old and new who were present at the Lost Theatre last night and how many of the acts I had already seen and enjoyed.

It was a colourful affair, as you might expect and full of the glamour and grotesquerie that make up the scene liberally sprinkled with the movers and shakers who run venues and book acts. Chief among these is the organiser of the event Paul L Martin who, as well as performing himself, runs the entertainment agency Excess All Areas. I have known Paul for a few years now, notably reviewing him in Ruthless at the Stratford Circus (a gazillion years ago!) where he played the theatrical agent Sylvia St.Croix. Since then our paths have crossed several times on the theatre scene and of course he is responsible for the highly successful Battersea Barge pantomimes. In fact I still credit him with the funniest panto title to date – Snow White & The Seven Signs Of Ageing.

Aside from all this Paul is the MD of Excess All Areas and the company go to great pains to elect a mixed judging panel each year to populate a list of nominees for the awards. The judges this year were promoter and producer Catia Ciarico, producer James Seabright, performer and programmer Jillian George-Lewis, cabaret director Klare Wilkinson and club designer Norman Gosney. The host for the event was the wonderfully subversive Myra Dubois, Rotherham’s least celebrated daughter and the evening featured performances from The Dream Bears featuring the adorable Luke Power, contortionist The Tom Show, The Original Street Dancers and the lovely singer/songwriter Tamar Broadbent.

The awards were presented by, among others Adele Anderson, Samuel Cairnduff and the enchanting Barb Jungr, looking fabulous in a striking new red dress! As to the winners, there were several names I knew in the shortlist and a few of the winners too. For the complete nominations check out the awards website but below is the complete list of winners.

Best Vocal Act – Lady Rizo

Best Musical Variety Act – Adam Kay

Best Drag Act – La Voix

Best Host – Benjamin Louche

Best Burlesque Act – Kitty Bang Bang

Best Speciality Act – The Boy With Tape On His Face

Best Alternative Performer – Duo Bogof

Best Newcomer – Tina T’urner Tea Lady

Best Production – Black Cat Cabaret

Best Circus Act – Jess Love

Best Cabaret Venue – Soho Downstairs

Audience Award – Jayde Adams

Outstanding Achievement AwarJd – Jo King

Unsung Hero Award – Gay Bingo at the Empire

Other familiar faces at the event were journalists Adrian and Liz Arratoon, pianist extraordinaire Michael Roulston cabaret performer David Hoyle and Chris Dennis (the glorious winner LaVoix) plus of course Mark Magill and the team who run The Lost Theatre.

Colour, comedy and even the occasional spot of political satire, the London Cabaret Awards are worth their weight in gold. A hugely entertaining night out that will hopefully continue from strength to strength, truly reflecting the diversity and talent on offer in the capital.

Richard III - He's Keeping It In The Family

At the weekend I managed to catch up with Hiraeth’s production of Richard III, which is currently playing Upstairs At The Gatehouse. In the course of my work as a theatre reviewer I have seen quite a few productions of Shakespeare’s plays, the most common for me being Othello – I’ve seen lots of Othellos! For some reason Richard III had always escaped me, so aside from a decent knowledge of history and having seen two movie versions – Olivier and McKellen – I was looking forward to seeing what Hiraeth had done.

Both the acting and direction are sound, although there is nothing overwhelmingly breathtaking about the production, although Nadia Malik’s costume designs are worthy of note. Director Zoe Ford has set her Richard III in a bleak, dystopian past – think Mad Max meets The Tribe – and while Malik’s costumes are evidently created on a budget, there is uniformity and invention there. Furs are juxtaposed against leather and Richard himself – David McLaughlin – is strapped up to hint at remedial adjustment to a physical abnormality. Of course the real abnormality is Richard’s homicidal ambition and McLaughlin hammers this home in no uncertain terms.

Malik’s design also makes good use of hairpieces on both the men and the women, helping create a better illusion when the small cast have to double up. For a better idea of the look, check out photographer Adam Trigg, who has taken extensive, excellent photographs of the production. Although the costumes are neatly observed, Richard III is let down by a simple set that sadly fails to occupy the Gatehouse stage. Also, I realise I am opening up myself to ridicule from scholars but to echo some other audience members, I have no idea what the moth motif is all about. I expect there is a reference in the text but it’s never really made clear.

IMATS Edges Nearer

On Wednesday, after a mammoth cycle from Crystal Palace to Shepherds Bush (25k in 1hr 50m, although I did get lost!) I met up with Michael Key and a whole group of people connected to the IMATS show. It’s so good for us to get to meet up like this, as come June 27-29, we will all be running around making sure that the show runs smoothly at Olympia.

It was fun to catch up with old friends in the relaxed surroundings of the Kwest Hotel & Spa, such as Michael and of course Sheelagh Wells and not to mention Cliff Wallace and his wife Dee, who run Creature Effects in Uxbridge. It was also an opportunity to meet new people including Gideon Shawyer from the Delamar Academy and make-up artist Paul Gooch.

Time went far too quickly but there was a great atmosphere and it’s very interesting to hear about different movie projects from a make-up perspective as opposed to the costume perspective I more often hear now. I for one can’t wait for June to get here now.

Throwing Stones

This week saw several introductions, the first of which was to Forum Theatre at the Albany in Deptford.  On paper, Forum Theatre, might appear to be a ghastly innovation. A play where the audience is encouraged to stop the action, debate the situation and indeed, get up on stage and show what they would do to alter the narrative. It is with some trepidation that I wandered over to Deptford that wet Thursday evening to see Glasshouse, a new production by the Cardboard Citizens Company.

The plot itself deals edged around issues of homelessness and how key critical events within the family unit can trigger a breakdown. It may not be a new story, but poet and rapper Kate Tempest gives it a new beat and director Adrian Jackson keeps it lively and full of twists and turns. The story is told three times, from three different perspectives and the second act is opened up for the audience to dissect.

It’s not an easy, or particularly democratic process by which to examine the story but it is thoroughly engaging. The audience are encouraged to speak their mind and Jackson as mediator and facilitator works the crowd like a seasoned Jerry Springer.

Glasshouse is touring until May 18, so if you fancy taking in a new style of theatre that lets you have your say, then check out the website for dates and venues. On another note, I really do like Deptford and the Albany. The area is distinctly multi-cultural – I couldn’t find a chip shop for love nor money – but the people are friendly; the architecture interesting – look up!; the contemporary touches fun and the Albany itself is a great, adaptable space, with comfortable seating, café facilities and cycle parking!  I do hope I get to go along again soon.

The Stage New Year Party 2014

The Stage annual New Year Party is an event I look forward to, not least because it allows me to catch up with so many friends and acquaintances from the London theatre community, who I usually only get to chat to 'in the interval'. Now tied into The Stage 100 Awards, the event remains a social highlight of the theatre calendar but now sees the presentation of awards for Best Regional Theatre, Best London Theatre, Best Fringe Theatre, Best Producer, Best School and the Unsung Hero Award, which was this year given posthumously to theatre consultant Andy Collier.

Listening to the acceptance speeches I couldn't help but be impressed by the Michael Grandage Company, who graciously listed the phenomenal accomplishments of its fellow nominees - Sonia Friedman Productions and Headlong - ahead of accepting The Stage for the award. That's how to do an acceptance speech! 

Among the people I was able to catch up with included Roger Foss, Stephanie Methven, Penny Horner, La familie Plews, Lisa Martland, David Burns, Danielle Tarento, Rosie Barltett and of course, some of The Stage staff who I no longer see on a daily basis.

The rest of the event was a flurry of introductions and happy reunions before retiring to The Globe for the less formal part of the afternoon. As ever this allowed me to catch up with Alan Myatt, who has been MC of the event for about ten years now and also Anna Papakyriacou and Sarah Rogers, who had dropped by to say hi. Sean popped by eventually and we wandered over to Piccadilly for dinner at the Brasserie Zedel, with time just before for a daiquiri at the Crazy Coqs - there was a massive queue at the American Bar.

Not all Fridays are like this - but it's just as well, I suppose. The morning had seen me file a student showcase review, spend an hour in the gym and swim 1500 metres before squeezing myself into a suit and catching a train to the Theatre Royal Drury Lane. It was all compounded by the fact that I hadn't had a drink since December 31st in an attempt to bolster a New Year health kick. Well that's over now, at least until Lent! 

Talent Spotting In Soho

I nearly went to the Archer Street Cocktail Bar a couple of years ago, when Andrew Keates had organised his Black & White birthday party there. Unfortunately on the day, the relatively new venue had had a complete power cut and I never got to see inside. So when I was asked to sit on the panel of judges for the Archer Street's Got Talent contest, I couldn't wait to get a good look at the place. Whisking my friend Anna away from filming in Chelsea, we slipped into the trendy cocktail bar for the opening night of the competition to check out the format, the judges and naturally the first round of contestants.

Currently decked out in a selection of fur throws, there are elements of the ski lodge about this subterranean bar but according to owner Siobhan Magill, this is a remnant of the winter season. The space is apparently decorated to suit different themes throughout the year. It's not just the décor however that sets this bar apart, as one of the biggest attractions are the staff - a young, lively bunch who burst into song at will. It may be a gimmick but it's one that pays off and apparently auditions for bar-staff are hotly contested. Lets face it, with the clientèle this popular venue is likely to attract, what better way for a hopeful to be talent spotted?

The talent on show this evening came from all over the UK to take part in a competition, which hopes to find the 'Voice Of Soho' - although it's not simply a title on offer, but a weighty check for £5000 for the winner. This first heat - there are nine in total - threw up a mix of uber-talented vocalists and musicians but it was Rozzy Turner, singing her own individual arrangement of LMFAO's Sexy And I Know It who got the judges vote. I couldn't help but agree with them as Rozzy's sense of confidence, quirky style and vocal technique were particularly strong.  

The judges on this first evening were the star of We Will Rock You Brenda Edwards, Senior Executive Radio Producer/Editor Mike Hanson, Award Winning International and West End Theatre Director whose recent work includes Olivier nominated Loserville, Steven Dexter and lastly, 23 year old Media mogul, Founder and CEO of SBTV music Broadcasting Company, Jamal Edwards. There are eight weeks of heats - Tuesday nights - and the grand finale is due to take place on April 15

I am sitting on the judging panel on March 11 and I have to say that I find it quite exciting. Aside from the fact that this is a great new bar to hang out in - a mix of theatre peeps and meeja types - it is also a place I used to spend far too much time in many years ago. In a previous incarnation, the Archer Street Cocktail Bar was Barcode Soho - happy memories of some very late nights.

Too Cool For School

Last night, I was invited along to the concert performance of Cool Rider at the Lyric on Shaftesbury Avenue. Cool Rider - for those who may not know - is the ‘stage name’ for Grease 2, the sequel to the blockbuster movie-musical, that failed both critically and financially. As it happens, whilst I was a huge fan of Grease when it opened in 1978, I have never actually seen Grease 2. I knew it was an early major role for Michelle Pfeiffer and that a few of the original cast had joined in but after this, I had no idea either of the songs or the plot.

When I heard that producers Christopher D Clegg and James DP Drury were mounting a concert performance of the movie, I simply wondered as to who would buy a ticket to see it? To my surprise, within less than a week the concert had sold out and another performance added on the same evening. I’d expected a quality cast, on-script, singing numbers from the show with little attempt at staging or story. I hadn’t expected so many cast members, vibrant choreography, simple but amusing staging and an audience who didn’t only know the plot but also the lyrics to each song.

The band led by Lee Freeman belted out a cache of catchy tunes, notoriously written by multiple composers and lyricists but specially arranged for this stage version. These are all complemented by Matt Krzan’s frenetic choreography, featuring some show-stopping moves from Michael Callum Evans and an adapted script from director Guy Unsworth and Mark Jones.  There are strong central performances from Ashleigh Gray as Stephanie (the Pfeiffer role) and Aaron Sidwell as Michael with support from Niall Sheehy as Johnny, Hannah Levane as Paulette and Reece Shearsmith as Mr Stuart.

Judging by the passion and vitality by which this concert has been presented, the creatives obviously have a huge fondness for the original movie. Cool Rider was a great night out but as to a future life, I have to be a little more pragmatic and question whether or not the show could sustain full production. Personally, I think it could have a longer life in its present format rather than laying on full-blown production values. There was a huge amount of energy and commitment on stage last night and that kind of thing can become infectious. The audience loved what was happening on stage and cheered every tongue-in-cheek, low-tech special effect as much as they did the lively musical numbers and corny dialogue.

Grease 2 may be classed as a flop but given the right marketing and suitable backing, Cool Rider could well become a huge hit for theatregoers in need of a fun night out. As for me, I have spent much of the day checking out Grease 2 on YouTube and trying to work out where they went wrong.

Naked And Gay In Vauxhall

Those lads down in Vauxhall really know how to throw a party although throughout January, I am not drinking and sticking to a rigorous health and fitness regime – or at least trying to. So far I have managed to lay off the booze but Dirty Burger was far too good to have been even the slightest bit healthy. I was in Vauxhall for The Gay Naked Play, the second production to take place at the brand new Above The Stag Theatre. An appropriate play for a theatre company that has spent the last four years developing a loyal and diverse audience by producing musicals, cabaret and plays on a gay theme.

The Gay Naked Play tells the story of the Integrity Players and the problems they have trying to establish an audience with a series of obscure but worthy dramas. Faced with bankruptcy they agree to allow an outsider to produce a musical version of The Passion of the Christ featuring a hard-core porn star as Jesus and a chorus of scantily clad chorus boys. David Bell’s remarkably short play is packed with laughs while verbalising a dilemma faced by many a small theatre company, namely artistic compromise.

Thankfully this production compromises nothing for laughs and director Andrew Beckett keeps the action pacey, the references broad (or at least Broadway!), the cheesecake at acceptable levels and the cast are full of surprises, particularly Stacey Sobieski as Amanda, the pregnant member of Integrity Players who is convinced to play the Virgin Mary and appear naked on stage singing Madonna classics. The Gay Naked Play may not be Chekhov but it’s perfectly suited to the Above The Stag audience and tickets are selling fast - almost as fast as those cheeseburgers on a Saturday night in Vauxhall after closing time at the RVT!

Pan-demic

I must say I never really got Peter Pan. I've not read the novel and although I have seen the play in several incarnations on stage and screen, I have never really bought into the sentiment of it all. It's world of nursery games, thimble kisses, Red Indians and pirates was never part of my childhood and while I appreciate the narrative, it has always struck me as a cloying, saccharine affair - a sentimental relic of the turn of the last century. 

When Lost Boyopened at the Finborough at the beginning of January, my eyes were opened somewhat. Phil Willmott’s take on the ‘Peter Pan’ legend looks at the idea that many of the novel’s first readers were slaughtered in World War I. Central to Willmott’s adaptation is George Llewelyn Davies, the young man on who JM Barrie based the character of Peter and who died leading his troops into battle in Flanders.

In his musical, Willmott draws parallels between the gay abandon by which Peter leads the Lost Boys into battle with the pirates and the gung-ho spirit by which young men signed up to certain death in the trenches. Willmott’s Pan is forced to grow up, just like all the other Lost Boys who have found jobs in the city but spend Friday nights carousing on the wrong side of Hyde Park until they valiantly sign up to protect King and country.

This new musical is the real deal, marred only by the restrictions of budget but still making the most of the space and talent on offer. Lost Boy is a musical of possibilities with a strong, cliché free score more reminiscent of Broadway than the West End and a riveting book – it’s always comes down to the book - that addresses issues from male bonding to revenge, all within the confines of characters created by JM Barrie.

Lost Boy has now transferred to the Charing Cross until February 15. I am looking forward to checking it out and seeing how it looks on a bigger stage.

My 2013

I take New Year - as I'm sure many people do - as a time of both reflection and anticipation. For me personally 2013 has been a year of great changes both personally and professionally. Sean asked me what the highlights to my year had been and aside from a few personal successes, each of my highlights have been theatrical ventures. With The Stage 100 List being published this week and The Offies hot on their tail celebrating theatre work Off-West End, I thought it might be an idea to fashion my own, purely personal list of theatre highlights this year.

I have seen a fair few new musicals this year but little compared to the ground-breaking Streets, which opened at the Cockpit in April. Like most musicals on the fringe Streetswas not perfect but writers Finn Anderson, Tori Allen-Martin, Sarah Henley and James Eyres-Kenward have created a fascinating amalgam of song, dance and touching drama that throws up a challenge to conventional musical theatre. Look out for further productions this year.

For my best musical theatre performance of 2013, nothing will beat John Barr’s turn as Ed Kleban in A Class Act at the Landor. Barr’s portrayal of the tortured, insecure, depressive lyricist, famous for his work on A Chorus Line, was a tour de force, the like of which is rarely seen on the Fringe and the show certainly deserved as further life.

When it comes to a best new play, then Gutted is an easy winner. Opening in May at the Theatre Royal Stratford East, Rikki Beadle-Blair’s play may have divided the critics but nobody could doubt the power of the performances or the passion of Beadle-Blair’s writing.

Broadway chansonnier KarenMason was a notable cabaret highlight, along with Stefan Bednarczyk reinventing Noel Coward and the indomitable Miss Hope Springs all of whom appeared at my favourite cabaret venue, the Crazy Coqs.

When it comes to revivals, Merrily We Roll Along has – thankfully – been preserved digitally and I consider myself very fortunate to have seen Maria Friedman’s revival on stage and on screen. I had never heard of Bare but the transfer from the Union to the Greenwich was a notable piece of rock musical theatre with a stunningly good set design.

And finally....

Thursday 26^th December – Boxing Day

Weight: 13.13 (Huh?!) Calories: 2,600 (chip shop was open today) Fags: 19 (nails looking a little better) Alcohol Units: 0 (well done!) No. Of Boyfriends: 0

6.30am  Am v. sleepy as I wearily walk around flat gathering self together for morning duties.  Maybe I could phone in sick?  Don’t be ridiculous!  It’s only eight hours and it won’t kill you.  Wore my best T-shirt today and made sure that I stank of my most expensive aftershave.  That way will not be mistaken for a guest again.

7.15am  Today Rosie is alone when she picks me up as it turns out that Tim and Claire have phoned in sick.  Suddenly I feel very pleased with myself.  Wish I’d worn a warmer T-shirt though as I am freezing.

7.45am  Bermondsey Christmas Shelter Project.  No stranger now,  I head straight for the coffee before heading off for my first duty - organising the breakfast queue. The main halls were still dark and most of the guests were still asleep.  Sonia, my partner for the shift and myself gaze across a room the size of two football pitches filled with sleeping bodies.  For some reason I felt like crying.

8.30am  The breakfast queue was pretty much the same as lunch yesterday except that not everybody is a morning person.  Still I talked and chatted to people I had met yesterday and to others who looked like they might not shout at me.  One young lad was particularly flirty and looked like he might be a regular at the Ghetto – all dreadlocks and baggy jeans.

11.00am  Am now in charge of stopping people from getting into the medical area without seeing the receptionist.  There are lots of things on offer here including Doctors, Opticians, Massage, Acupuncture, a Pharmacy, Chiropodists and a Dentist.  It is wonderful how all these people have given their time to help others.  I begin to feel a bit useless, not being particularly skilled at anything.  Well, I do mix a bloody good martini but alcohol isn’t allowed in here.

1.00pm  Lunch consisted of a pork pie and a packet of crisps – not my record 12 turkey sandwiches from last year.  Surely this has been one of the healthiest Boxing Day’s of my career. 

2.15pm  Cleaning duties in the shower block.  One of the guests had been very sick in the showers.  Somehow I don’t think I could have coped with this after twelve turkey sandwiches.  My duty partner added to the whole fun and games by throwing up himself which for some reason I found very funny.  Perhaps I am a little more used to such sights after working in the entertainment industry for so long.

5.00pm  Home again with fish and chips and a large mug of tea.  It has been a very odd Christmas one way or another.  I am looking forward to the New Year as one of the guests, who said she had gypsy blood, had read my palm and told me I would be meeting a handsome stranger who would whisk me away from all my problems.  To be quite honest he wouldn’t have to be handsome, just nice, kind and honest.  And as for my problems?  The past couple of days made me realise that quite frankly, I don’t really have any worth moaning about.  Still I gave her all my fags and tried to get the strangers initials.