CAMP

          A Lesbian, a bisexual woman and a gay man walk into a bar ……. well, they walk into the theatre space above it. I was very much looking forward to this show as the concept sounded interesting. "Join Felix, Becky, and Mary as they attempt to learn what we were never taught; same-sex-sex-ed, voguing & queer history. Do you have what it takes to get your GAY-CARD?". I was immediately intrigued. How could I say no to their invitation to go along? As someone who is part of the LGBTQIA+ community, I wish as a younger person I'd had lessons or been made aware of the communities history. I had to do the research myself, either on purpose or finding stuff completely by accident. Oh, interesting fact. The county with the second highest readership for my blog is Russia, so it will be interesting to see how this post does. Haha. 

          This show was at the Lion and Unicorn Theatre. That's twice in two days. I arrived slightly earlier as I knew I like the environment of the pub, and so I was able to relax before the show. As was the same when I went to see The Cardboard Kitchen Project, once the audience was let in we had to wait for maybe two minuets before the show started. I love it when I'm not sat down and made to wait for ages. Once again thought he theatre space was boiling hot. I felt so sorry for the actors. My view was also partially blocked by the people in front as the seating is mostly on one level. From the word go, the show throws you into the deep-end of queerness. I think one needs at least a little queer knowledge to actually enjoy this show, and I think this is the point. The show is full of references to queer culture. I think I got almost every reference, well at least I think I did, and I wont ruin anything in case anyone reading this goes to see the show.

          The show started a little slow, but gained speed exceptionally quickly. The three actors were very relatable, with all of them taking one or two different roles. As the only man in the cast I related heavily to Felix, played brilliantly by Nicholas Marrast-Lewis. There were so many of Felix's characteristics that reminded me not only of myself but EVERY gay man I've ever met. It was just a shame that Nicholas stumbled over one or two of his lines, but it didn't really cause much of an impact. Fizz Waller was also brilliant as Mary. She was extremely comedic yet had just the right amount of realism. She was probably the most interesting of the characters, in no small part to how Fizz portrayed her.

          There was however something that any reader of previous reviews will know that I hate. Audience interaction/participation. This wasn't too bad, with a little gay quiz thrown in part way through. It seemed totally out of place and unnecessary, but was at least interesting. There was another moment of interaction and that was the audience being asked to Vouge. again, it seemed very out of place. This was the bit I hated most, and thankfully I wasn't dragged up on stage to do it.

          It is not only funny, but has a couple of hard hitting messages. Firstly, Bisexual people are often discriminated against from within the queer community. They are often told they are 'going through a phase'. Gay people think they aren't ready to fully come out as gay, and straight people just get confused and call it a "phase". The second issue they picked up on was discovering your sexuality later in life. This is something lot of people within the LGBTQIA+ community struggle with. Many older people have, for whatever reason, been unable to be their authentic selves until they've settled into life. This can make coming out a scary and unnerving situation, to suddenly been thrown into a world completely different to the world you've been living in for years. Lastly, the show talks about the expectations within the queer community. What you should know. If you don't, then you are harshly judged. I've made it a mission of mine to research queer history. I feel I owe it to all the people who came before me. For all the people unable to be their true selves. For all the people who had to hide in the shadows. For all those who lost their lives. I try really hard to educate myself so I can educate others. This show tries to put a lighter spin on that, and so I must be grateful they are trying to get that message out there.

          A bit of light hearted fun, bit with a completely serious message. You don't need a 'Gay Card' to be a good member f the LGBTQIA+ community, but you should at least know a little of the communities history. The show is playing on August 21st, 22nd and 24th 2019 at the Lion and Unicorn Pub in Camden.

To book tickets or to find more about the show, please click here

The Cardboard Kitchen Project

          I was intrigued when I was asked to review this show. A cardboard kitchen? I went along hoping for something interesting and new. However I'm sorry to say I left rather deflated.

          The show is on at the Lion and Unicorn Theatre as part of the Camden Fringe Festival. The theatre is above the Lion and Unicorn Pub, a lovely modern pub on the corner of a quiet residential street. Away from the main hustle and bustle of Camden. It was so relaxing I was glad I had time to take in the pubs atmosphere before the show. Not to mention it has a lovely little pub garden. anyway, the theatre itself is like the majority of pub theatres in London. Upstairs and small. It was also surprisingly warm.

          I sat three rows from the front and realised something annoying. The seating is all on the same level. Well some seats further back are raised by maybe two inch but not enough to make any difference. This means you struggle to see the stage, which is just part of the floor. I knew this would likely be a problem, but I don't know the show so I might have been wrong. I wasn't. She sat on the floor for what felt like half the show. I dread to think of the poor people sat at the back of the audience. What exactly could they see? probably the head of the person in front of them and some disembodied voice complaining about the husband she left in Singapore. 

          Varshini Pichemuthu, a recent graduate from the Royal Central School of Speech and Drama with a masters in Applied Theatre, was the actress in this show. She has a wonderful voice, so I was looking forward to listening to it for an hour or so. I was unfortunately disappointed however with her overall performance. Towards the end, as the show was progressing, she seemed to relax but this was certainly not the case at the. She had been very robotic and there was nothing naturalistic about her performance. I couldn't believe a single part of it. I also feel the show was maybe half an hour too long. There was a lot of filler. going over the same material multiple times, or using the same 'gag' such as trying to put the cardboard kitchen together.

          Maybe the issues I had with the show were with the writing rather than the performance, but either way I felt it was just far too long. The story was there, but not very developed and this didn't help in keeping my concentration. It just dint go anywhere. Its always a bad sign when I keep looking at my watch. the director has called it a "really relatable story around a space in our lives that we don’t often think about." Now I tend to think about my kitchen a lot. Its the heart of the home. when there are gatherings its where much of the time gets spent. It needs to be practical but also be friendly and inviting. This made the story totally unrelatable. I still don't understand why she was sent a cardboards kitchen. How's that going to make her feel any better or make her want to spend more time in the kitchen. I just don't get it.

          I'm sorry to say I was left disappointed. I can see it has potential, but it really needs to have some drastic work done to it.

FORM

          FORM is a show from theatre company Rendered Retina. Using 20,000 paper balls, the show takes audiences on a hilarious and moving journey of one man's attempt to escape routine, to wonderful worlds and whisk you away on a visual voyage. This show uses no spoken word (except grunting), physical theatre, clowning/mime all of which is nicely pushed along with original music.

          When I was invited along to see this show, I was rather excited. With a concept that sounded interesting and at a theatre I'd never been to before (the Camden Peoples Theatre) I was waiting with anticipation for the show to start. It won 'Best Show' at Paris Fringe 2018 and was the winner of the Les Enfants Terribles Award 2017 so I had high hopes going into the theatre.

          I wasn't disappointed. Its not an over exaggeration to say I think this is some of the best pieces of theatre I've ever seen. The three performers, Tom Mangan, Alex Mangan and Jordan Choi have such great chemistry and energy together. They complement each others performances perfectly, bringing just the right amount of energy to the show. The relationship and trust they've built over the 11 years they've known each other is all too clear, with the production running like a well oiled machine. 

          I was transfixed throughout, unable to look away. In fact the whole audience was engulfed by the brilliance of this show. We were all completely silent except for the moments of laughter we collectively experienced out of pure joy from what we were watching. An imaginative show that took as all along for the ride, bringing us as an audience into their world. And what a world that is. I didn't want to come back to reality. The 20,000 paper balls were used brilliantly to push along the story and act as a base for every scene. With the entire stage being used there was never a dull moment. They all use their bodies and faces very expressively, and even though they don't talk you know exactly what their characters are thinking or how they are feeling. Yes, sometimes the facial movements can be a bit over the top, but in a way that added to the show rather than distract form it.

          I know this is a rather short review but I really cant say any more. There is nothing to criticize (other than the fact the waiting area at the theatre is rather small). It was simply perfection. If you have the time, you MUST see this show. I will certainly be interested to see how this theatre company develops and to see what they do next. They say on their website "We want our work to leave lasting images with those who see it." They have certainly achieved that with me.

For more information about theatre company Rendered Retina, click here
To find more information and/or book tickets for FORM (at 2019 Camden Fringe), please click here

Come Fly With Fred

          Come Fly With Fred was inspired by many honest and moving interactions with London’s homeless community, and created with the hope to shed light on the rollercoaster life thousands live everyday and make you chuckle along the way. For the show, one joins Fred on his daily search for friendship in an explosion of circus, spontaneous puppetry beat-boxing, break-dancing physical comedy and original spoken word. I was intrigued to be invited along to see what this show was all about.

          I saw this show while it was on at The Space on the Isle Of Dogs, London, a theatre space I've been to s few times before. As I've said before, its an interesting space in a converted church. It also has a reasonably priced bar/restaurant above it though this has very limited space.

          Come Fly With Fred is part of the Send in the Clowns Festival, a fortnight of foolery showcasing the best in clowning and physical comedy. It was also part of the line up for the 2019 Camden Fringe. There was seating for just 28 people (less than the theatre space can normally hold) and I'm sorry to say even then it wasn't full. The stage was also virtually empty, with just a blue bucket to one side. I sat down and looked through the information I was given upon entering the theatre. I saw three words and my heart sank. Continuous audience interaction. I hate audience participation/interaction at the theatre. Sometimes it can be ok, maybe in an improve show someone shouting a theme or theatre style. Actually the majority of productions at Shakespeare's Globe have some form of audience interaction and they do it brilliantly. For the most part though as soon as I see audience participation my heart sinks. I go to the theatre to be entertained by actors/performers. I don't come to the theatre to be part of the entertainment myself. That's why I'm in the audience and not on the stage.

          My overwhelming feeling while watching this show was that of awkwardness. I know the subject of homelessness was bound to be slightly awkward, however the room was overwhelmed by that feeling. It didn't help that the majority of the show was silent with the exception of the odd strange sound made by the performer, Lucas Bailey. This meant for most of the time the theatre was in complete silence, creating a feeling that wasn't the most comfortable. This may have been the intention, however it was far too overpowering for me to be fully engrossed in the show. Saying that, Lucas was a very talented performer having a plethora of skills that he made a point of displaying, from juggling to beat-boxing. His skills though couldn't break the awkwardness though. There were however funny moments in the show, but even these didn't save the show for me.

          There was a moment of spoken word, and this was the most powerful and emotive moment of the show. I would much preferred the show to have consisted mainly of this as I feel it could have been far more impactful. I also was taken by how quickly Lucas was able to change between different states of emotion and mental stability.

          This show is meant to make one think about the holes community and the struggles they go though in their lives on a daily basis. One moment however failed in this endeavour massively. Towards the end of the show 5 members of the audience were invited up on stage to take part in what can only be described as a human band/orchestra. The only assumption I can make is they were representing the different noises of London, that can often become be the metronome to a homeless persons life. After a while each member of this human band was then given a hat to ask the audience for money, like many homeless people do on the stress every day. This was clearly meant to be a moment where they were meant to feel the awkwardness of how this can often feel. Most of them however took it as a complete and utter joke, fake crying and making it into a piece of overacted comedy. In fact making the audience laugh at this poignant moment. I found this wholly disrespectful to not only the piece itself but for the performer wo for the past 35 minuets had pout his all into trying to make is feel a specific way.

          The shows ending was powerful, with Lucas sat alone at the back of the stage with his hat on the ground as though asking "can you spare some change". The reality for the majority of the homeless community. He then proceeded to go through the actions of getting ready to spend a night sleeping on the streets, with a clear emphasis on this being a scary and often dangerous experience for many in the homeless community. The powerfulness of the ending and of the spoken word however failed to redeem a piece of theatre I found mostly awkward (and not in the way I assume they intended). It could have been so much more powerful and I left slightly disappointed.

(I was struggling to give this either two or three stars, but I had to make a decision as I don't do halves)

For more information about Come Fly With Fred, please click here

For information about the homeless charity Centre Point, please click here 

Games For Lovers

          Tickets for this show are only between £20 and £35, it has Evanna Lynch performing (who is most known for playing Luna Lovegood in the Harry Potter film series), plus its being performed at The Vaults which is a theatre space I've been to only once before, so I decided to see if this comedy had lived up to all I'd heard. For the most part it really did, but I had a few issues.

          My first issue is with the theatre itself. At the name of the theatre suggests, its in the vaulted arched close to Waterloo Station in Central London. The noise of trains passing overhead is a little distracting but is to be expected, however the stench of damp was slightly overpowering. It wasn't even a wet day however the smell filled my nostrils from the moment I walked through the door. This was very similar to when I visited Above The Stag, however the smell at The Vaults lingered into the performance space itself. This smell isn't ideal when one is trying to become immersed in the show and almost forget about the real world.

          The second issue I had was with the performance of Billy Postlethwaite. Not with the fact he was over acting, this was the character, but with his constant breaking of the fourth wall. For those of you who don't know this is when the actor or actors acknowledge the audience is there watching. Sometimes this can work well in a performance, but not here. To start with he was the only one of the four actors doing it. Yes there where times when all of them would talk out to the audience during moments of narration, but the other actors would sort of blankly look in the audiences direction. Billy however seemed to make a point of looking people directly in the eyes. He would then also do it whilst performing scenes. When a couple arrived late or a women went to the toilet, he interacted with them and went 'off script'. Very off putting and out of place seeing as no one else was doing this. If this was a decision of the director Anthony Banks, then this was a very poor and misguided decision. If this was all on Billy, then someone really needs to have a stern word from him. Other than his audience interaction, he was a brilliant actor.

          The show is performed with traverse staging, with the audience on two sides of the stage, facing towards each other. This is another slight, and I mean only slight, issue I have. I always find when this is the staging, the actors are very much always making a conscious effort to look in the direction of both audience so as to not always be performing to one side. It was very much something I could see all the actors were constantly aware of. Right I've been looking in this direction, so let me now suddenly change where I'm looking so the other half can see me. The only show I've seen where traverse staging was brilliantly utilised was at the Young Vic theatre for their 2016 and 2017 production of Yerma.

          The staging was an interesting choice, with large geometric shapes in bright colours on the walls and floor along with geometric shapes like the building blocks in a toy box. I'm not overly sure on why this staging was chosen, but it worked well. Maybe it was because it wasn't distracting from the performances. It sort of faded into the background almost, to allow the actors to stand out. This is one possibility anyway. It was beautifully staged and directed by Anthony Banks, as well as wonderful and emotive lighting by Matt Haskin and sound design by Ben and Max Ringham.

          It has been superbly written by Ryan Craig, whose plays usually involve both ethical and social matters. In Games For Lovers he expertly navigates the world of sex and love, with the characters caught in a complex game of rivalry, desire and seduction. I found it to be an accurate portrayal of young adults finding there feet in the world of sex and relationships. From the cocky man who believes he must act like a bit of a prick to attract women, to the girl who's confused by her emotions. From the boy who develops feelings for his best friend to the girl who sees any other woman as a threat. All four actors performed brilliantly, really making their characters human. I have to say though I was so impressed by Calum Callaghan who's performance really stood out. He was the one who for me was the most real and the one who I could most easily identify with. Not because of how his character was feeling or what he was doing, but because something about him made me instantly connected. Evanna Lynch was also exceptionally good, though at times I couldn't help but see similarities between her character in this show and Luna Lovegood. Her performance though was heartfelt and was at times full of such realism. 

          There was the perfect balance of comedy and drama. Moments of sadness then suddenly something happens where you just cant help but laugh. I was so glad I saw this show as it really brightened up my evening. If you have the chance, get a ticket. Just be prepared for the smell of damp.

To purchase ticket or find out more information, click here

Once On This Island

          I cant imagine why its taken so long for Once On This Island to return to the London stage. Ten years in fact. With a reasonably short running time and toe-tapping calypso, it makes for a fun theatre experience. Its based upon the novel 'My Love, My Love' by Rosa Guy, which has been described by Dante J.J. Bevilacqua as a Caribbean re-telling of Hans Christian Andersen's "The Little Mermaid with a dash of Shakespeare's Romeo and Juliet.". Using the structure of Haiti's rigid class system, it tells the story of a poor girl from one side of the island who falls in love with the aristocrat from the other side whom she nurses back to health.

          I can only say thank you to The British Theatre Academy for bringing this magical production back to the London stage. I know a lot of people are put off going to see a 'student production' but rest assured you will not be disappointed. Its also a shame, but a fact, that some people are likely to compare this production to the 2017 Broadway revival. I went into this though with an open mind, ready to be blown away.

          And oh was I blown way. What an absolutely stunning show. Yes its not to the scale or quality you'll find on Broadway, but its bloody close. The cast were all amazing with some interesting costume choices. I might add I'm sure the cast will all go on the have successful careers in theatre, if this show is anything to go by. They all worked well with each other and with the audience around them, using the traverse staging to the full. This is a style of staging I always think is tricky for actors, but they seemed to embrace it with open arms. I have to also complement Andrew Exeter on his sublime lighting that really enhanced to fantastic work of the actors but also complemented Lee Proud's direction and choreography.

          There are a couple of the actors however that I feel need a special mention. Firstly Aviva Tulley as Erzulie. She has arguably the most touching and emotional songs 'The Human Heart', which occurs almost two thirds of the way through the show. This role was originated by Andrea Frierson-Toney on the Broadway stage in 1990 and by the American sole singer P. P. Arnold when it came to the West End in 1994. In the 2017 Broadway revival this role was played by the legend that is Lea Salonga. Aviva in this production is undeniably absolutely stunning, and in my opinion is just as good as Lea Salonga (if not maybe a little better). I was moved to tears by her rendition of the song and I will forever remember her performance. It was so real and honest the whole audience was silent, captivated by her voice which had a real maturity in its soulfulness. I would recommend the show on her performance of this song alone. Secondly I'd like to mention Chrissie Bhima who plays Ti Moune. Another amazing singer who made this one of the most realistic characters I've seen on stage recently. She has to portray a whole range of emotions in a short space of time and she did this with complete and utter ease. Her voice was refined and powerful, allowing her to bare her emotions to the audience and other cast members with complete conviction. Even when she wasn't the focus of the scene (which was very rare seeing as she was on stage the majority of the time) I couldn't take my eyes off her. These two women, Aviva and Chrissie, will undoubtedly make successes of themselves on the stage and I really wish I get to see them perform again. They wouldn't seem out of place if you threw them onto the West End stage tomorrow.

          As for the men in the cast there are two who stood out over the rest These were Sam Tutty and Elliot Gooch as Daniel and Armand respectively. Both were performers who kept my attention and for all for the right reasons. Constantly in character and making themselves stand out in scenes, they also had great chemistry together and you could tell they were having fun on stage. Sam Tutty had charm and a bit of a cheeky twinkly in his eye, while his voice is mature while also having an innocence about it. All of which is perfect for the character of Daniel. He also had great chemistry while performing with Chrissie Bhima and their harmonies where a joy to listen to. I felt it took him a few moments to become comfortable on stage but when he did he never looked back. Elliot Gooch just seemed at home on the stage from the word go, and was a bit of a cheeky chappy throughout. I now know he's graduated from Bird College with a 1st Class BA (Hons) in Professional Dance and Musical Theatre and I'm really not surprised. Before the show started cast members were interacting with audience members, and Elliot trying to sell a couple of girls bamboo was the first to catch my attention (and make me laugh). He seemed completely at ease and was always someone my eye kept going back to. He kept my attention, even when he wasn't a major component of a scene. He just owned that stage. 

          I also cant really go without mentioning Jonathan Chen in the role of Asaka. Now I'm just going to get it out the way and say it. He's not as good as Alex Newell in the 2017 Broadway revival. Jonathan if your reading this, I'm sorry but its true. But please don't take that as me saying that it wasn't a great performance. That couldn't be further from the truth. It was a wonderfully joyous performance, full of the comedy and over the top sassiness. It took a while for Jonathan to feel comfortable in his role, and many times I could detect he was shaking. Performing in drag can be a very nerve racking experience, take my word for it, and so I wasn't surprised by his nerves. Not to mention he must have had Alex Newell's performance in the back of his head. I'm happy to say though that he hit every note and immediately after his big number, Mamma Will Provide, I could see the relief on his face. It was also nice after the song to see that the rest of the cast seeming to tap him on the back, touch his arm or give a nod as if to say 'Well done. That was great'. I couldn't agree more with them. He had nothing to worry about. My only issue was the makeup. It wasn't over the top enough and just seemed very understated in my opinion. I believe though that Jonathan did the makeup himself, so I hope he will get better as the production continues and as he gains experience. I also had an issue with the costume, not just for Jonathan but all the Gods in fact. I know there is obviously a limited budget for a production such as this, but I feel the Gods could have had a bit more time spent on their design. They all had removable headdresses which at times seemed to become a little cumbersome or they struggled to get them on quickly. Don't get me wrong they were good, but I'm sure they could have been much better if a little more effort had been put into them.

          Overall, this is a stunning performance. Not just by the main cast but the whole ensemble, all of whom put 100% into their performances. You could see this by the fun they all seemed to be having and the sweat dripping from them at the end of the show. How marvellous to see a new generation of performers enthusiastic about what they do, who all clearly love it with a passion. I hope they never loose that. My only wish now is that Once On This Island transfers to the West End, bringing some on the current cast with it. I know that I have seen stars of the future today. 

You don't have long, as the show is only running at Southwark Playhouse until 31st August.

To purchase tickets to the show, or to find out more information, please click here.

There's also currently a production touring North America, so for info or tickets please click here.

UPDATE!!! - SAM TUTTY HAS BEEN ANOUNCED AS PLAYING THE TITSL ROLE IN DEAR EVAN HANSEN IN THE WEST END. FOR TICKETS AND INFORMATION PLEASE CLICK HERE