Category: Current Productions

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Theatre review: Unicorn with Nicola Walker, Stephen Mangan & Erin Doherty

Two plus one equals a challenging comedy


★★★★

Stephen Mangan, Nicola Walker & Erin Doherty in Unicorn. Photo: Marc Brenner

Unicorn is about a middle-aged couple played by Nicola Walker and Stephen Mangan who are attracted to the idea of introducing a third person into their relationship- in the form of a younger woman played by Erin Doherty.

This makes it a difficult play to review. Not because of some of the language- although that’s a problem too- but because so much of the play is about whether they will or won’t go ahead. I’ll do my best to talk about this adventurous comedy without giving away any spoilers.

Here are some things I can tell you about Unicorn. It’s funny, although the light-heartedness does give way to something deeper in the second half. I can also tell you it’s about emotional relationships rather than a simple threesome (if indeed a threesome is ever simple). And, even if it is about more than physical gratification, there is nevertheless much frank- and indeed filthy- talk about sex.

Having said that, if you were hoping to see these beloved stars in the buff, or were perhaps dreading the embarrassment of seeing bits of them that are normally covered up, there are no depictions of sex. They don’t even undress, well, Nicola Walker does take her shoes off. Frankly, it’s shocking enough to hear Nicola Walker and Stephen Mangan talking about sex in explicit four letter words- yes, even that word- without them actually doing it.

Our middle-aged couple still say they love one another but wonder if a third person might spice things up their sex life. Fortunately Polly, played by Nicola Walker at her most hesitant and nervously sensual, is a lecturer, and one of her mature but much younger than her students has the hots for her. And she feels the same.

Normally, if that’s the right word in this unusual situation, it’s difficult to find a young woman who wants a relationship with an older couple. (I’m not saying this from personal experience- it’s what we’re told in the play.) As rare as a unicorn, in fact. But fortunately, Kate, played by Erin Doherty, is interested, and so the story begins. The very word ‘unicorn’ may suggest a fantasy but we go with it because this is a scintillating script by Mike Bartlett, and these three actors, under James Macdonald’s direction, know exactly what to do with it.  Their comic timing is exquisite.

Erin Doherty nails the younger woman: frank, matter-of-fact and with a clear picture of what she wants. She talks loud and without hesitation. The generational gap is portrayed well. Stephen Mangan as Nick is especially good as an older man tying himself in knots as he tries to contain what he fears is stereotypical masculinity. He and Nicola Walker capture that respectful tone of the woke London middle class who are aware they shouldn’t offend or take risks, so beat about the bush and constantly retreat from what they really want.  ‘It’s entirely possible that on some level this is inappropriate,’ says Polly to Kate. Even when they kiss, all three contain any passion they might feel in favour of conversation.

So we journey through the first half continuing a will-they-won’t-they situation. At this point, I think I can add something to my plot summary. It might be a spoiler but I doubt you imagine this prevarication, funny as it is, could possibly continue for over two hours. In the second half, they do get together, but only after some significant turning points in all their lives.  We find that 30 year old Kate is increasingly the driving force in the potential three-way relationship, and we realise why. She comes to represent not only hope for the throuple but also a wider hope for humanity.

Nicola Walker & Erin Doherty in Unicorn. Photo: Marc Brenner

As we move into the dynamics of the menage-a-trois, and its ups and downs (no innuendo intended), the humour subsides a little in favour of more philosophical conversations. To summarise: we live in dangerous times, when the world and our bodies are threatened by pollution. We’re brought up on Disney happy-ever-after movies and bicycles made for two. So our primary choice of heteronormative coupling is tied up with this failed society. A willingness to try new, honest ways of living and loving could be the path to happiness and a better world.

It’s clear from the start that this particular arrangement is so rare that it is close to a fairy tale, a fairy tale that even features a unicorn. Then again,  children’s fairy tales are a way of tackling the challenges offered by a world that can seem dark and forbidding. I don’t want to say whether their happiness ultimately comes from their being all together or working out different kinds of relationships, but I certainly came out of the theatre feeling upbeat about the world.

Miriam Buether’s set is half of a dome, the other half being in effect the fourth wall. It occasionally concertinas up at the back to allow an entrance. The impression is that the three are contained within a cocoon, thus adding to the feeling that they are in a fantasy world. The backdrop is bathed in different colours, and sometimes Natasha Chivers‘ lighting design casts multiple shadows. I’m not sure if that’s to indicate the multiple possibilities of modern relationships or more mundanely to make the image of two or three people on stage more visually stimulating. There are few props- chairs or a sofa to sit on, a bed to lie on. Refreshingly, both designer and director take a discreet approach that lets the actors to do their job.

I certainly wouldn’t go see Unicorn if you’re hoping for an erotic evening, but if you take it as a fantasy delve into changing attitudes to relationships, then it’s both interesting and funny. If nothing else, it will get you talking, and who knows what that might lead to.

Unicorn can be seen at the Garrick Theatre until 26 April 2025.

Paul paid for his ticket.

Click here to watch this review on the YouTube channel Theatre Reviews With Paul Seven

 

 

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Theatre Review – The Autobiography of a Cad – Watermill

Ian Hislop’s satirical comedy lacks bite

★★★
James Mack and Mitesh Soni in The Autobiography of a Cad. Photo: Matt Crockett

I always look forward to seeing a play by Ian Hislop and Nick Newman at the Watermill Theatre in Newbury, but on this occasion I was disappointed. Their adaptation of The Autobiography of a Cad, a 1930s satire about a self-centred lying politician with a public school background, may have modern parallels but it didn’t seem like a play for today. Fortunately it did feature an outstanding lead performance. Keep watching and I’ll tell you all about it.

Ian Hislop, editor of Private Eye and star of Have I Got News For You, and Nick Newman have almost made a speciality of paying homage to past satirists. Wipers Times told of First World War soldiers who mocked their commanders,  Spike was a tribute to Spike Milligan and The Goons who sent up the establishment, Trial By Laughter concerned the early 19th century government’s attempt to censor satirist William Hone. All of those, like their new offering, were premiered at The Watermill.
The author of The Autobiography of a Cad, A G MacDonell, was a popular satirist in the 1920s and 30s. All satire is vulnerable to the passing of time and its targets, and he is now almost forgotten. In the case of this book, though, you can see the appeal of revisiting it. It dates from a time when Britain was run by a self-serving corrupt elite who inherited their positions irrespective of ability. You would think that by the twentieth century this had long been replaced by a meritocracy. Except when you realise how many members of the last government came from wealthy backgrounds and had gone through Eton and Oxbridge.
More than that, the subject of this particular story is not simply incompetent or old fashioned, in the way of say Colonel Blimp. The Cad, whose name is Edward Fox-Ingleby, is entitled, self-centred, and misogynistic. He lies his way out of trouble and cheats his way to the top. There’s no explicit nod in the play to any modern self-serving mendacious politician, but you may well be reminded of a few.

James Mack powers the show

Rhiannon Neads and James Mack in The Autobiography of a Cad. Photo: Matt Crockett

The irony of the original ‘autobiography’ speaks for itself but, for dramatic purposes, this play puts the Cad in the process of writing it. This task inevitably involves rewriting history, which two assistants question and challenge with a mixture of bemusement and contempt.

Fox relives moments from his life in which he encounters various friends, colleagues and lovers, and proceeds to stab them in the back. He moves through his boorish misbehaviour as a student, to his mistreatment of the staff on his estate, to avoiding front line fighting in the First World War, to pursuing a political career, all the while carrying on affairs.

James Mack is a regular at The Watermill and always good value. His wide smile with even white teeth makes him perfect for this role as a Teflon politician. He exudes a smarmy charm, while conjuring wide-eyed panic when  he thinks he’s been caught out.  His bravura performance powers the show.

Two actors take on all the other characters. Rhiannon Neads flits from the shocked assistant Miss Appleby to the snarling ghost of Granny Ingleby to sundry girlfriends and wives, while Mitesh Soni is the sneering assistant Mr Collins, the downtrodden farm worker Williams and many powerful but naive men.

Designer Ceci Calf‘s set uses wood panelling and oil-painted portraits to suggest appropriately a Gentlemen’s Club, while cleverly concealing the various props that will be needed.
Each scene is funny in itself but the pattern is always the same: a threat to the Cad, followed by his escape using lies or bribes, then on to the next until it feels relentless. It needs an edit: if nothing else, some of what is in effect a series of sketches could be cut to avoid the diminishing returns.
Having said that, the Cad’s character and behaviour are at times hilarious, and director Paul Hart keeps the pace moving for over two hours.
The Autobiography of a Cad can be seen at the Watermill Theatre until 22 March 2025. Tickets from https://www.watermill.org.uk
Paul was given a review ticket by the theatre
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Theatre review: The Years at The Harold Pinter Theatre

Top class acting makes ordinary life extraordinary


★★★★

Anjli Mohindra, Deborah Findlay, Gina Mckee, Romola Garai & Harmony-Rose Bremner in The Years. Photo: Helen Murray

The Years was originally a book by a Nobel Prize winning French woman Annie Ernaux. It was adapted by a Norwegian woman Eline Arbo who directed it while working with a Dutch company. She has now brought the production to London in an English translation by Stephanie Bain. There were moments when I wondered whether the story of an ordinary life was worth all that pan European effort, but in the end it was the acting that sold it to me.

All the actors have familiar faces. Deborah Findlay, Gina McKee and Romola Garai have appeared regularly on stage and screen for decades. Anjli Mohindra and Harmony Rose-Bremner are young, up-and-coming actors who are already building big reputations.
All have the same ability to convey characters through the subtlest of gestures and expressions, and to communicate with confidence when they are centre stage. These are qualities essential to performing in this play, where the actors play the same person at different stages of her life, and the rest of the time take on the multiple other characters who are part of the story.
Harmony Rose-Bremner is Annie as a child fascinated by the family around her. Then Anjli Mohindra takes over as the joyous adolescent discovering, among other things, masturbation. And I must say I have never seen such an enthusiastic depiction of the act on stage.
In the other half of her life, as the middle-aged Annie, Gina McKee, with her trademark knowing smile, observes a new generation of adults and has the maturity to enjoy her own life more- especially the sex. Then in old age, Deborah Findlay takes over as the actual storyteller, looking at the present and all that has happened with a benign smile. If anyone could be said to take the honours in this masterclass of acting, it would be Romola Garai who takes on the mantle of the fresh young adult, learning about the harsh realities of relationships.
And it is quite an epic, taking a provincial French woman from childhood to old age. But what happens to her isn’t exceptional, with the important exception that the lives of ordinary women are rarely told on stage or anywhere else for that matter.
It gains much of its force from being told against the background of the second half of the twentieth century. In other words, it becomes a celebatory story of Women in our time or, depending on our age, the time of our parents and grandparents. So we run through post-Second World War austerity to the growth of consumerism, 1960s rebellion, the sexual liberation encouraged by the Pill, the triumph of free market capitalism, the beginning of a new millennium and 9/11. Lists of brand names and new consumer devices like the Walkman form a motif throughout the play.
The woman is first seen as a young girl, the youngest in the family, and ends up a grandmother, the oldest. In the course of the play, she discovers her sexuality, has non-consensual sex, an unwanted pregnancy, babies, a divorce, more pleasurable sex, copes with teenage children, and becomes an empty nester. The exploration of a life from it all being ahead to being behind is fascinating, and salutary. Annie describes how the memories ‘will all vanish at the same time, like the millions of images that lay behind the foreheads of the grandparents, dead for half a century, and of the parents, also dead…And one day we’ll appear in our children’s memories, among their grandchildren and people not yet born.’
Some of the events are upsetting, such as a harrowing illegal abortion (the play was stopped the night I was there because a member of the audience fainted, which I gather is not unusual), some are funny as when they all join in doing stretches with varying degrees of success as part of a Jane Fonda style fitness session.
But, in itself, this is not enough. Not because it’s about a woman but because  a cushioned middle-class life is just not that interesting. It can be: even the most ordinary life has conflicts, challenges, threats, difficult relationships. But in this story, such things are deliberately played down. The alienating way of telling this trip of a lifetime, in which an actor describes what’s going on even as it happens, and with the characters around her almost anonymous, anaesthetises us from the dramas of her life.

The trip of a lifetime

Where we all gain, male and female, is in the story of time itself, and the way our memories remain with us, making the past always present. This is reinforced by all five incarnations, in the form of the actors, remaining on stage throughout. Another motif concerns the taking of photographs that hold one moment in time for a lifetime and beyond.
The story might still seem a trifling thing but for the performances and the creative elements of the production. The actors are all at the top of their game. They wear roughly the same costumes throughout and have few props but, because they speak with passion and mime so convincingly, we believe they are schoolchildren, disco dancing, naked in the bedroom, and so on.
In Juul Dekker’s sparse set, white cloths that represent the background to the photos, are rolled up to act as a baby or become a tablecloth, and end up, having been stained by wine, blood and other fluids of life, hanging as the backcloths to the life we have witnessed. Then, there’s the music. Harmony Rose-Bremner and Romola Garai sing beautifully and add extra depth to the moods of joy and sadness.
I don’t think the play carries the weight it aspires to, but the acting more than makes up for that.

The Years can be seen at the Harold Pinter Theatre from 24 January until 24 April 2025.  Buy tickets direct from the theatre.

Paul was given a review ticket by the producer

Watch this review on the YouTube channel Theatre Reviews With Paul Seven

Click here for a roundup of reviews of The Years

If you’ve seen The Years at the Harold Pinter or the Almeida Theatre, please add your review and rating below

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The Little Foxes at the Young Vic – review

Anne-Marie Duff is chilling in 20th century classic

★★★★

A woman in a dress holding a cup faces a man in a suit with a paper under his arm, both are standing
Anne-Marie Duff & Mark Bonnar in The Little Foxes. Photo: Johan Persson

Like me, you probably see more acting on TV than in the theatre. That means I’m always interested to see whether a favourite actor can make that transition from screen to stage.  The Little Foxes at the Young Vic was packed with faces from British television. Mark Bonnar who you will have seen in Shetland and Guilt; Steffan Rhodri best known as Dave Coaches from Gavin & Stacey; Anna Madeley who is Mrs Hall in All Creatures Great And Small; and one certifiable star in Anne-Marie Duff most recently seen in Bad Sisters.

I have seen all these actors on stage before, but it is still a thrill to be reminded that, like so many other screen actors, they are often only giving us a glimpse of their skills when they’re in front of a camera. The real test of their acting ability comes when they are trapped in the time and space of a theatre show, communicating directly with a live audience. This cast passed the test with distinction. 
Lillian Hellman’s The Little Foxes was premiered in 1939 but this attack on capitalism focuses on a family of landowners from the American South around 1900. So, the first question you might ask is, why did Lillian Hellman, who was a communist by the way, set her play around 40 years in the past? I’m guessing it’s because 1939 was not the best time for an anti-capitalist message. America had just experienced successful state intervention in their free market system in the form of Roosevelt’s New Deal, so a mixed economy may have seemed more attractive than a communist one. More than that, communists, capitalists, rich and poor were in the process of uniting in a fight against fascism, or at least that was the perception. So it might have been easier to show unadulterated capitalism, raw in tooth and claw as it were, from a couple of generations earlier.
The first half introduces us to the Hubbard family. There are two brothers- Ben played by Mark Bonnar, cunning as a fox and arrogant as a peacock, initially strutting about the stage, nonchalantly shrugging off challenges. Ben boasts of the way his family, who were traders, took advantage of the Civil War to buy up property while the Southern grandees were being defeated, fighting for their principles. He is even proud of their exploitation of what he calls ‘coloured people’.
The other brother Oscar, a weak bully, is played by Steffan Rhodri with a rat-like blend of slyness and nerves. The lead character is their sister Regina played by Anne-Marie Duff. Her bravura performance dominates the evening, entrancing us with her hyperactive character, who is by turn charming, quivering with frustration or displaying a diamond hard will power that is genuinely chilling. Her sparkling eyes and wide smile are a mask that covers her amorality.
The brothers inherited their father’s money. When they have an investment opportunity that will make them a huge fortune, Regina is shocked and angry to find she has been left out of the spoils. She plots to get both her share and revenge, by using her ailing husband’s money to make up the additional investment her brothers need.
After a slow first half that establishes the characters and their situation, the play takes off like a SpaceX rocket, as these greedy siblings ruthlessly trick and use one another.  Regina becomes more ruthless than any of them in her ambition.
It’s a savage expose of people whose greed trounces love, loyalty and all other moral values. But, is it relevant today? I guess the answer to that partly depends on your politics, but the fact is, capitalism remains the dominant system, despite regulation and the welfare state. Add to which, we appear to be entering an era of less regulation, in America at least, and we have seen the privatisation of public services in the UK. So I suppose it is a good time to be reminded that however high the quality of service or product we receive from companies, their number one priority is profit, not people. 

Powerful performance from Anna Madeley

A mature woman in a dress looks down
Anna Madeley in The Little Foxes. Photo: Johan Persson

The play presents some alternatives. Oscar’s wife Birdie is from an aristocratic family. She represents the ‘old values’ based on patronage, duty and responsibility. She is an alcoholic, bullied by her husband, and ghosted into a lack of confidence. She may be brittle- she laughs nervously, she looks down, there’s fear in her eyes- but still expresses her beliefs. It’s a powerful performance from Anna Madeley, showing Birdie beaten down but still proud. The quality and depth of her acting won’t surprise you if you’ve seen her as Mrs Hall, giving much-needed weight to the cosiness of All Creatures Great and Small.

Regina’s husband and daughter show that behaving morally is an option. They are played by John Light and Eleanor Worthington-Cox, the latter subtly showing how her character grows in strength as events force her to choose between standing up for her beliefs or standing by watching. In fact, the play’s strongest message is that most of us stand by watching bad things happening and do nothing about it. In stark contrast, Oscar’s son, played by Stanley Morgan, is morally bankrupt, like his father.
The black servants show two different sides of the class that has been most exploited and abused by this family. Freddie MacBruce as Cal goes about his job without question, but Andrea Davy’s Addie is firm in her opinions and tenderly loyal to those who treat her well.
Quite a few reviewers criticised the design, suggesting that its mid 20th century look was not appropriate, and even confusing, when used in a play set in 1900. On the contrary, I think Lizzie Clachan’s design is a stroke of genius. First and foremost, it doesn’t distract. A turn of the century design could have made the story seem of a bygone age, irrelevant to today. On the other hand, modern day clothes would have been too anachronistic for a play that’s set over a hundred years ago and mentions horses and carriages.
Instead, Ms Clachan cleverly plumps for the neutrality of clothes of the time it was written. The dominant beige reinforces this.  The absence of the trappings of the life of the well-off suggests these are people who want wealth for its own sake. They aren’t even that interested in enjoying the luxuries that come with it.
It’s a damning picture of capitalism but I think it’s unfair to suggest, as some critics did, that it fails because the main character doesn’t evoke enough sympathy. I found that I had plenty of sympathy with her over the way she was treated and therefore cheered her on as she exacted revenge. But that sympathy only heightened the shock of seeing just how far she would go and what sacrifices she would make. Yes, she does become a monster but it seems possibly sexist to me to suggest that this portrait of a greedy capitalist woman can only can only be of interest if we have sympathy for her. I don’t think you have to sympathise with the murdering Macbeth to get involved in his character and story, or with the greedy Lehman Brothers to find them fascinating. I didn’t like Regina as a human being but it was gripping to see how far she would go and whether she would finally realise there is more to life than money.
Director Lyndsey Turner delivers a powerful interpretation and the excellent cast squeeze every ounce of drama out of it. Before the interval I was wondering whether it was ever going to take off but when it did it was riveting. And if you love watching great acting, this is one not to miss.

The Little Foxes is at the Young Vic until 8 February 2025. Buy tickets direct from the theatre

Paul paid for his ticket
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Theatre Reviews Roundup – The Devil Wears Prada

Vanessa Williams stars in Elton John musical

Dominion Theatre
Vanessa Williams and Matt Henry in The Devil Wears Prada. Photo: Matt Crockett

This musical is based on the popular film starring Meryl Streep, Anne Hathaway, Emily Blunt and Stanley Tucci. It has been adapted by Kate Wetherhead with music by Elton John. After a lukewarm response to its premiere in Chicago, musicals heavyweight Jerry Mitchell has been brought in to direct and choreograph.

The producers may be disappointed at receiving so many two star reviews but the critics’ overall view that it is a victory for style over substance may not concern those audiences who love a bit of style. The stars Vanessa Williams, Georgie Buckland, Amy di Bartolomeo and Matt Henry were, on the whole, well received, as was the choreography.

The critics couldn’t agree about Elton John‘s music with comments ranging from ‘lackkustre’ to ‘irresistable’. Similarly, the clothes, which are an essential ingredient, were described by BroadwayWorld as ‘What the show gets right’ and by WhatsOnStage as ‘deeply disappointing’. Theatre critics turned into would-be fashion writers as they disagreed on whether the frocks were authentic haute couture or knockoffs.

[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]

For Martin Robinson at The Standard (5★) it was ‘absolutely fabulous’.  He said, ‘Elton John’s irresistible songs are the highlight of this big, bold, metaphorically shoulder-padded musical…The tunes, from disco to power pop to Broadway homage, are draped in witty lyrics by Shaina Taub and Mark Sonnenblick, and belted out by a glamazon cast in a ritzy, glitzy production by director and choreographer Jerry Mitchell that conquers the cavernous Dominion.’ He noted, ‘Williams sings with withering power’

Chris Omaweng for LondonTheatre1 (4★) said, ‘Jerry Mitchell’s signature “full out” choreography is delightful, and the music has the kind of campy and upbest drive one would expect from Sir Elton John.’  Saying he’d see it again, he ended, ‘there are some decent punchlines to chortle at and a stellar cast with plenty of talent to enjoy.’

The Times’ Clive Davis (3★) called it ‘efficient, well-groomed, and, at times, a tiny bit dull’.

Fiona Mountford at i-news (3★) thought there were pros and cons. On the plus side, ‘The costumes are, of course, fabulous, and Williams, a made-to-measure fit for the Priestly part as the undisputed mistress of the wither put-down, could not look more stylish.’ However, ‘If only this fabulousness could extend to director Jerry Mitchell’s choreography, which is bewilderingly and irredeemably naff, like a local Zumba class attempting a line dance.’

Olivia Rook for LondonTheatre (3★) said Vanessa Williams ‘has an incredible stage presence’. She also thought ‘Georgie Buckland impresses as ambitious Andy’ and ‘Amy Di Bartolomeo gives a stand-out performance as first assistant Emily’. However she was unimpressed by the costumes: ‘They’re too garish and, in some cases, shapeless — and certainly don’t scream haute couture.’

Aliya Al-Hassan of BroadwayWorld (2★) disagreed about the frocks: ‘What the show gets right are the clothes. Costume Designer Gregg Barnes has blown a considerable budget on pieces from Tom Ford, Dior and Prada, to name just a few.’ She did concur that Amy di Bartolomeo gave a ‘standout performance’, saying ‘she’s funny, engaging and a thrill to watch’.  Otherwise, ‘Musically is where the show really stumbles. A day after viewing, I was struggling to recall a single melody.’ She was disappointed that ‘The Devil Wears Prada may look great, but misses the chance to say anything new or even interesting.’

Tim Bano in The Stage (2★) was left cold: ‘It looks impressive, in a spangly, shallow way, and convinces itself it has something to say in order to disguise its preening vacuity. As a musical it’s pretty and uninteresting, shot through with the kind of obviousness and mediocrity that Miranda Priestly would abhor.’ He lamented, ‘The wit and bite of the film are gone.’

The Guardian’s Arifa Akbar (2★) reached for the booze, calling it ‘A prosecco o’clock musical, briskly directed and choreographed by Jerry Mitchell’. She thought ‘none of the characters on stage feel real or alive’. She said, ‘You find yourself asking: “Why?” How does this show add to the film, riff off it or bring the satire – and celebration – of the fashion industry up to date?’ On the plus side, she said the ‘lyrics are serviceable and John’s music exuberant. Vanessa Williams is a powerhouse singer’.

For Miriam Sallon at WhatsOnStage (2★), ‘The singing is spectacular, and the chorus line has not a single high kick out of place.’ But, ‘the tunes are mostly lacklustre and the script in between is just a regurgitation of the film’s best-known lines.’ ‘Ultimately,’ she said, ‘The Devil Wears Prada is promising couture but offering something off-the-rack.’ She declared, ‘the costumes are deeply disappointing…Tens of shoddy fake Chanel jackets do not a fashion show make.’

Susannah Clapp in The Observer (2★) saw little merit in it: ‘John’s music – power ballads, rock, disco – pounds remorselessly…Mitchell’s angry, ugly choreography sets everyone marching catwalk-style and punching the air as if they were at a political rally. Gregg Barnes’s costumes are sharp, but often more aggressive than alluring’. She continued, ‘Fascinating detail has been flattened.’

The Telegraph’s Dominic Cavendish (2★) described it as ‘shiny yet bafflingly skimpy’. He found, ‘You sit through song after song, waiting for your heart to beat faster, but little lands or lifts’.

Alice Saville in The Independent went straight for the jugular: ‘The Devil Wears Prada is truly diabolical.’ She explained, ‘Jerry Mitchell’s production feels less like an ironic comment on the Noughties, than it does a time capsule from back then – albeit one where groundwater has seeped in and made everything a bit limp and soggy.’ And just for good measure, she said the music was ‘surprisingly unmemorable’.

Critics’ Average Rating 2.8★

Value Rating 31 (Value rating is the Average Critic Rating divided by the typical ticket price)

The Devil Wears Prada is at the Dominion Theatre, currently booking until 3 January 2026. Click here to buy tickets direct.

Read Paul Seven Lewis’ review here

If you’ve seen The Devil Wears Prada at the Dominion, please add your review and rating below 

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Theatre review – The Devil Wears Prada with Vanessa Williams – Dominion

Vanessa Williams does it with style


★★★★

Vanessa Williams and Matt Henry in The Devil Wears Prada. Photo: Matt Crockett

There’s no denying this musical offers style over substance, but, if you don’t go expecting substance, you will be rewarded with plenty of style. It helps of course that The Devil Wears Prada has a book by Kate Wetherhead, music by Elton John, lyrics by Shaina Taub and Mark Sonnenblick and a star like Vanessa Williams, but what really cements these contributions into a great musical is the director/choreographer Jerry Mitchell. This guy knows how to put on a show. His production packs the stage with dazzling dance routines, soaring voices, brilliant sets and just sheer energy.

Very much in line with the film, it tells the story of a serious young journalist called Andrea who gets a job working for a prestigious but, to her, frivolous fashion magazine as second assistant to the tyrannical editor. It’s a kind of Faustian pact in which she has to trade her principles for journalistic success. The question is, will she or won’t she? Spoiler alert!- she doesn’t.
Let’s start with how it looks (very appropriate for a show about the fashion industry). The stage is brilliantly lit by Bruno Poet and populated by fabulous dresses designed by Greg Barnes. I believe at least some of them are genuine haute couture frocks. Even the proscenium arch has a strip of neon light running round it like the beading on a Chanel handbag. Tim Hatley’s sets suggest the opulence of the world they describe, except of course the set for Andy’s poky apartment. You have never seen such vivid reds as at the Ball, centred on an extravagant staircase. And Paris is evoked not only by a giant depiction of the Eiffel Tower but also beautiful red white and blue colours.
The Dominion has a large stage but this show has no problem filling it. Over two dozen performers go through their routines with military precision. Okay, there is the odd occasion when they seem to be just running around but mostly the moves are eye-catching and clever. Models sway down the aisles onto the stage. The second act opens in a hospital where a row of handsome male nurses form a chorus line.
The principal characters are sharply drawn and perfectly cast. Vanessa Williams as Miranda Priestly, editor of the Vogue-like Runway magazine, is stupendous, every bit as haughty, cutting and frightening as you would hope. In a ‘less is more’ performance, she emanates power. It’s only a shame that Elton John hasn’t come up with a song that truly conveys her devilish character.
Georgie Buckland as Andy makes her West End debut but you would imagine she was a musical veteran, such is the confidence and versatility with which she acts the part of a mouse that becomes a tiger. Very nearly stealing the show is Amy di Bartolomeo who is very funny as Emily, Miranda’s desperate, appearance-obsessed primary personal assistant. All three women have extraordinarily good singing voices, the kind that can hit spine tinglingly high notes.
Nigel- the Stanley Tucci part in the movie (I say that because I’m not exactly sure what this character’s job is, but he’s important and he befriends Andy)-is played by Matt Henry with humour and sensitivity.
Georgie Buckland in The Devil Wears Prada

I was concerned by the end of the first act that too many of Elton John’s songs were fast moving and rhythm heavy in the style of Crocodile Rock. Then again, the relentless rock matched Andy’s experience of being swept along by the pace and pressure of her new job.

The second act is a different proposition. The book and the songs reveal  more about the characters’ personalities and stories, so there’s room for slower and more poignant songs, which carry the familiar Elton John stamp. The lyrics are quite witty and take the story forward. Nigel in particular has a plaintive song Seen in which he describes being an ostracised gay youngster saved by joining the fashion world.
So the music works, even if there are no showstoppers and you don’t leave singing any of the songs. At this point, I should say that the live band under Katharine Woolley drives the show like a Ferrari.
Lightweight, yes, but thanks to a fabulous production and splendid performers, this is a musical to savour. That’s all!
The Devil Wears Prada can be seen at The Dominion Theatre until 3 January 2026. Click here to buy tickets direct.
Paul was given a review ticket by the producer.
Othe critics were not so enthusiastic. Read a roundup of their reviews here.
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The Curious Case of Benjamin Button – The Musical – review

Is Benjamin Button the British  Musical of the Decade?

★★★★
Two actors Clare Foster and John Dalgliesh sit together smiling in a scne from The Curious Case of Benjamin Button The Musical
Clare Foster and John Dalgliesh in The Curious Case of Benjamin Button. Photo: Marc Brenner

You may know the film which starred Brad Pitt. Forget about it. You may know the F Scott Fitzgerald short story on which it was based. Forget about that. Jethro Compton has relocated The Curious Case of Benjamin Button to Cornwall in the 20th century and has probably created one of the best British musicals of the past decade.

What’s the story? Don’t be put off if I tell you it’s about someone who is born old and over the next 70 years becomes younger and younger.
Think of it as a grown-up fairy tale or simply an excuse for an evening of rousing folk music about love and belonging.
The multi-talented Jethro Compton wrote the book, the lyrics to the songs, designed the set and directed the show. Talking of the set, it comprises rough hewn timbers salvaged from Cornish beaches that, put together as a floor with ramps and stairs and ropes, segues from streets to a pub to a ship. The story is told by the so-called Strangers, played by the talented ensemble of musician singer actors. Each plays specific parts as required but together they are phenomenal.
John Dalgliesh is the de-ageing hero.  He doesn’t reverse age by use of makeup, he simply carries himself differently. And in theatre that’s all we need, isn’t it? Because he’s different, Benjamin is rejected by his parents , which leads to him being uncertain about his place in society. Time is very much the theme of this musical but so is place, in the sense of where you belong. And, while Cornwall is in the DNA of this show, love is at its centre. Even so, his love story is tentative with many moments in which he retreats, thanks to his lack of confidence.
The Curious Case of Benjamin Button. Photo: Marc Brenner

Elowen is the caring woman who becomes the love of his life. Played by Clare Foster, she exudes warmth. His two children are played by the excellent Anna Fordham and Oonagh Cox.  He has travels and adventures, which take place against the background of major events in the 20th century, particularly the Second World War and the race to the moon.

Along the way, he meets interesting and funny people such as Little Jack, played by Jack Quaron, another person treated with contempt because he is different. In this case, it’s because he appears to be of low intelligence, yet heturns out to possess natural wisdom. But Benjamin’s winding path always leads back to Elowen, where he belongs despite their widening age gap.
It is fascinating to see someone living his life backwards but, while we live our lives from childhood to old age, we are an accumulation of memories that, at any given moment, can take us to any part of our life, so we don’t exactly go forward. And Benjamin’s own experience is very similar to any person who is different, an outcast who needs to find somewhere he belongs, and who eventually fades. Time, which the chorus measures precisely to the second, turns out to be very flexible.
Unlike me, you may find the story too fantastical, too full of coincidences or just a bit thin, but you will love the music, written and arranged by Darren Clark. It has the overall effect of a folk concert in a Cornish pub, underpinning a joyous and moving evening.
The Curious Case of Benjamin is running at the Ambassadors Theatre until 22 February 2025. Tickets from https://benjaminbuttonmusical.com
Paul paid for his ticket.
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Ncuti Gatwa in The Importance of Being Earnest- National Theatre

Sharon D Clarke &  Doctor Who raise Wilde party

★★★

The Importance of Being Earnest. Photo: Marc Brenner

Did you know Oscar Wilde was gay?  I’ll be surprised if you didn’t, but after seeing Max Webster’s production at the Lyttelton, you’ll be in no doubt. His subtle references to the Victorian gay community are circled with a pencil, underlined with a marker pen, and coloured in with  a fluorescent highlighter in this panto style production.

The generous view would be that Mr Webster has turned the familiar classic into a Pride Party. To me it was like saying the Mona Lisa is smiling, so let’s make that clear by painting a big toothy grin over her mouth. Fortunately, Doctor Who’s Ncuti Gatwa and Sharon D Clarke save the day.

We start with a scene in which Ncuti Gatwa appears in a slinky dress in the middle of what appears to be a gay party. Then the curtain goes up on Oscar Wilde’s actual play, but with added text, added gestures and added modern touches.
Whenever Max Webster’s production sticks to the text, it works really well.  The central character Algernon is a kind of proxy for Wilde himself: decadent, amoral and bubbling over with cynical epigrams. Even people who have never seen the play before will probably know some of them, such as ‘In matters of grave importance, style, not sincerity is the vital thing.’
Ncuti Gatwa is a very good Algie: cool, laid back, with a mischievous smile, which he often employs in the direction of the audience. He delivers those epigrammatic lines as they are meant to be- clear and confident, defying argument. That he wears colourful tight-fitting clothes and poses like a cat is all we need to suggest a fluid sexuality. But we get a lot more.
His friend Earnest is played by Hugh Skinner projecting the same kind of puppyish naivety he brought to the character Will in W1A. Both the young men have secrets that will inevitably be exposed.
Earnest, whose real name is Jack, is in love with Algy’s cousin Gwendoline. The main obstacle to their marriage is her mother Lady Bracknell who cross examines him for suitability and discovers that he was abandoned as a baby in a railway station in a handbag, leading to the most famous two word line in theatre history.
Sharon D Clarke in The Importance of Being Earnest. Photo: Marc Brenner

With all due respect to other members of the cast, Sharon D Clarke is the saviour of the evening. Her Lady Bracknell is every bit as imperious and formidable as she should be, which of course is what makes her pronouncements about the rules of society so funny. You know the sort of thing: ‘Fortunately in England, at any rate, education produces no effect whatsoever.’ Making the character Caribbean in origin is inspired. Her slight lilt gives extra weight to every word. She is as good as any Lady Bracknell I’ve seen, including the legendary Judi Dench.

Before long, Algy too is in love with a woman, namely Jack’s ward Cecily. The girls have in common that they can only love a man named Earnest. I won’t say any more about how the plot rolls out and resolves, in case you’re unfamiliar with it.
Part of the joy of Wilde’s dialogue is that you are left in no doubt that the young women are physically attracted to the men, and more predatory, without actually saying it. Yet, Ronkẹ Adékọluẹ́jọ́ and Eliza Scanlen as Gwendoline and Cecily respectively are required by the production to make clear their sexual arousal with shuddering bodies and flicking tongues. Gwendoline rolls her eyes and gives the audience lascivious looks, while Cecily talks like Miranda Richardson playing the randy Queen in Blackadder.
Far from trusting the audience to pick up the subtext, bits of business are added throughout. And I’m hard pressed to find one addition that doesn’t actually take away from the play’s effectiveness. Here are some examples. To a list of overdue bills from The Savoy is added Dalston Superstore (a contemporary gay bar). When Algie and Jack come through a door, they are singing James Blunt’s You’re Beautiful. Faced with having to ask Lady Bracknell for help, Jack mutters ‘crap’. The celibate Canon Chasuble and Miss Prism, played with gentle affection by Richard Cant and Amanda Lawrence, won’t admit they are attracted to one another. Their skirting around the subject is what makes their relationship amusing, not Canon Chasuble hiding an erection under his hat, which belongs in a 1970s farce. When volumes of books which each cover a letter of the alphabet are picked out, the first three are G A and Y. Subtle it ain’t.
I’m fully at ease with modernising classics. It can breathe new life in them, it can add to our understanding of them. And I also think it’s great that we should honour Oscar Wilde as a gay man who courageously exposed Victorian hypocrisy and was persecuted for it. I like challenging work but, frankly, this production does Wilde and the audience – even non theatregoing Whovians- a disservice by seeming to treat the play as if it’s too subtle for its audience to appreciate.
This production is running over Christmas which may explain the decision to turn it into an adult pantomime. In fact, it’s great fun if you ignore the assault on the play. There’s even a panto style walk down in which all the cast wear glittering sexy costumes and enter to beat music, encouraging clapping along rather than applause.
By the way, all the dazzling costumes and the sets, designed by Rae Smith, are fabulous. They are recognisably Victorian  within a false proscenium arch, so the design pays homage to the style of a late Victorian stage play while using bright light and colour to open it up, in a way that the direction aspires to but doesn’t.
Oscar Wilde triumphs despite the production, thanks to Ncuti Gatwa, Hugh Skinner and Sharon D Clarke doing justice to his witty, perceptive script.
Paul paid for his ticket. He saw the last preview before the official opening night. This review was slightly revised on 2 December 2024 for the purpose of clarification. 
The  Importance of Being Earnest is at the National Theatre until 25 January 2025. Tickets from nationaltheatre.org.uk
Read the roundup of other critics’ reviews here.
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Steve Coogan in Dr Strangelove – Noel Coward Theatre – review

Why Steve Coogan is better than Peter Sellers in Dr Strangelove


★★★★

John Hopkins and Steve Coogan in Dr Strangelove. Photo: Manuel Harlan

I don’t know what’s more spectacular, the production of Dr Strangelove or Steve Coogan‘s triumphant performance as four different characters. He’s hardly ever off stage and he generates most of the laughs. The script has some flaws, but these are far outweighed by the enjoyment gleaned from this magnificent show.

You might be wondering whether a film made in the 1960s about how a nuclear war might be triggered stacks up as a comedy for today. It does creak occasionally but it is funnier and more relevant than you might expect. I’ll return to that but more to the point is that Dr Strangelove is a vehicle for the powerful comic acting of Steve Coogan, following in the footsteps of the film’s star Peter Sellers by playing multiple roles. As well as constantly changing costumes, he is hardly off the stage. He deserves an award for stamina, as well as any others he will deservedly accrue.

The action starts at a US air base in Britain. The hut interior with its massive Venetian blinds, just waiting to be disrupted, is the first of a series of great sets by Hildegard Bechtler (who also designed the set for the current production of Oedipus). We meet the first and possibly the best of four brilliant characters created by Steve Coogan. He’s a RAF Captain Mandrake, shocked that the US commander has launched an unauthorised  nuclear attack on Russia. It’s a masterpiece of British reserve, politeness and beating around the bush in the face of the utter madness of General Ripper played hilariously by a cigar-chomping, carpet-chewing and suitably square-jawed John Hopkins.

Steve Coogan and Giles Terera in Dr Strangelove. Photo: Manuel Harlan

Next, we are in a spectacular War Room with a huge electronic map or ‘Big Board’ as they call it working over the scene, showing targets as ‘circles, squares and squiggly bits’. Here, a panicking mix of politicians and military men have gathered in response to the news. Mr Coogan is the level-headed US President Muffley surrounded by war-mongering generals, led by an excellent Giles Terera as General Turgidson, maintaining a stiff military stance but always on the verge of jumping up and down with childish excitement.

Also in the room is Russian Ambassador Bakov (the amusing names keep on coming), played by Tony Jaywardena, who disintegrates from swaggering confidence to paralysing fear as he realises his fate is in the hands of his unpredictable and possibly mad leader.

There’s some excellent sleight of hand when Mr Coogan changes to Dr Strangelove, a former German scientist now masterminding the US nuclear response. He holds down his arm to prevent it making Nazi salutes, always with a reassuring ’I hated that’, while clearly looking forward to a new Reich. Mr Coogan plays down the German fanatic stereotype which makes his explanation of the logic of having automatic responses to the use of nuclear weapons without human intervention, and his casual description of the consequences of a nuclear holocaust as chilling as they are funny.

The third set cleverly recreates a bomber plane. The fuselage and landscape below are recreated impeccably, although I’m not sure how visible it would be from the back of the stalls. Sitting in the cockpit with two other members of the crew is the pilot Major TJ Kong, played by Steve Coogan.

It takes some chutzpah to put yourself up for comparison with the great Peter Sellers but Mr Coogan emerges with at least a draw, and he  deserves an extra credit for playing all these parts in the course of two hours. Like Mr Sellers, he avoids going for the obvious laughs which could be gained from exaggerating the accents and mannerisms, and other clowning. Instead, they take the characters seriously and allow the humour to come out of the situation, making it all the more believable.

Steve Coogan outdoes Peter Sellers in one respect. That’s by taking on a fourth role, which the star of the film was unable to do owing to an injury. Again it’s a priceless performance as Major T J Kong, as the pilot reverts to cowboy mode.  Despite objections and obstacles, he is determined to carry out the mission, but can he be stopped?

A code that will cancel the bombers is essential but Coogan back as RAF Captain Mandrake and in possession of said code has trouble trying to phone the President because of lack of change. This leads to one of the funniest scenes, as he tries to persuade a US soldier to shoot open a vending machine. To the American, vandalising Coca Cola property is a more serious offence than causing World War 3.

This stage show has been adapted by Armando Iannucci and Sean Foley from a 1964 film that satirised the military strategy of Mutually Assured Destruction- the idea that if all the major powers were armed with nuclear weapons they wouldn’t attack for fear of being destroyed themselves. At the time, hot on the heels of the Cuban Missile Crisis, people were actually preparing for the possibility of a nuclear war. Sixty years later, it hasn’t happened. Not that that makes Dr Strangelove a nostalgic trip down memory lane.

Yes, CND (the Campaign for Nuclear Disarmament) is barely mentioned these days and we have become more concerned about the destruction of the planet through pollution and the climate crisis, but the reality is that nuclear weapons have proliferated, making greater than ever the danger of a country, a dictator, or even a terrorist group using them. With an aggressive Putin in power in Russia and an unpredictable President due to take over the US nuclear codes, not to mention nuclear weapons at the disposal of Israel, Pakistan, North Korea and, before long, Iran, this is a timely reminder that it only takes one or two psychopaths with their fingers on the trigger to desolate the world- and how absurd this is.

Giles Terera is excellent as a war-mongering general

Dr Strangelove imagines two such madmen (and the players are all men) setting off a potential nuclear war. In doing so, it exposes fundamental flaws in the macho culture and logic of war that has led them into this corner. So the US generals talk of ‘pre-taliation’, based on the assumption that an accidental attack by them will trigger retaliation and they will need to get in first. It’s satire but it bites deeply into the fanaticism that comes out of the dehumanisation of the opposition.

It’s not a musical but it begins and ends with a chorus line of military personnel dancing to popular songs, the opening number being the most aggressive version of Try A Little Tenderness I’ve ever heard, and ending with Vera Lynn (Penny Ashmore) singing with equal irony the sentimental World War Two song We’ll Meet Again.

The one-liners come thick and fast (‘You can’t fight in here! This is the War Room’) and, thanks to director Sean Foley, the pace rarely lets up. The only problem is that the plot is entirely centred around the question of whether a nuclear war can be prevented. With no subplots or diversions, the humour, never subtle and already dated in parts, becomes progressively predictable: you can only take so many jokes about redneck Americans and the madness of war.

Fortunately, Steve Coogan is magnificent, creating four very different characters and showing perfectly how the best laughs come from taking the comedy seriously. He looked exhausted by the time the curtain came down.

Dr Strangelove can be seen at the Noel Coward Theatre in London’s West End until 25 January 2025, and then at the Bord Gais Energy Theatre from 5 to 22 February 2025. Ticket information here.

Paul was given a review ticket by the producer.

Watch this review on the YouTube channel Theatre Reviews With Paul Seven

 

 

 

 

 

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Theatre review: The Cabinet Minister at The Menier

This could be the Comedy of the Year

Comedy of the Year?

★★★★

The Cabinet Minister at The Menier Theatre. Photo: Tristram Kenton

Who would have thought that a forgotten play by a seldom-performed Victorian playwright would be one of the funniest theatre shows of the year?

Arthur Pinero was one of the most popular playwrights of his day- he was even given a knighthood. He made his name with farces and then with more serious plays on social matters like The Second Mrs Tanquery– one of the few that people may have heard of. While he may not offer quite the sharp wit or tight plots of his contemporary Oscar Wilde, Pinero too mocked the Victorian upper class.

I think it’s fair to say his plays haven’t aged as well as Wilde’s, but with a little attention from adaptor Nancy Carroll, The Cabinet Minister scrubs up very well. She’s simplified the story, cut the anachronisms, and added lashings of innuendoes.

What is the plot? Unbeknownst to him, a government minister’s wife and son have run up enormous debts. The latter is a gambler, the former has bought far too many expensive dresses on credit. If the debts aren’t paid, the minister already under pressure to resign, will be disgraced and forced to retire to that fate worse than death (to his wife, anyway) the countryside.

The dressmaker and her moneylender brother intend to use the debts as leverage to gain entry into high society, and, in the brother’s case, to use insider knowledge to make a stock market killing. The wife’s solution is to marry off her children to rich spouses. They have different ideas- they would like to marry for love.

A rollicking farce

Nicholas Rowe & Nancy Carroll in The Cabinet Minister. Photo: Tristram Kenton

So, it has all the ingredients of a comedy of manners and a rollicking farce. Nancy Carroll, director Paul Foster, designer Janet Bird and a well chosen cast have cooked them up into the comedy of the year. Nicholas Rowe plays the government minister Sir Julian Twombley. Tall and patrician, and so cynical about politics he gets his butler to write his speeches, he provides the still centre for the shenanigans.

Nancy Carroll not only adapted the play, she stars as his wife Lady Katherine Twombley. She knows how lucky she is to be part of high society, and doesn’t want that luck to run out. In Ms Carroll’s hands, she carries herself haughtily, throws out barbed one-liners, and panics wholeheartedly, as when she tries to strangle her nemesis Bernard Lacklustre. He’s the main creditor and, played by Laurence Ubong Williams, is a Del Boy character failing at every turn to blend into upper class society.

His sister Fanny Lacklustre is a tradesperson in the morning and a lady in the afternoon, such are the complexities of the class system. Lady Katherine may feel contempt for her, and shows it, but she cannot resist the pressure to bring her into her world. Phoebe Fildes gives a great turn as the thick-skinned schemer, ignoring sleights, ever smiling and pressing on with her plans.

Then there are the children. I particularly liked Rosalind Ford as a naive, confused Imogen Twombley. She is in love with Valentine, a hairy, smelly explorer who won’t settle for domesticity, and played by George Blagden with panache.  Unfortunately, her parents have promised her to a rich Scottish laird, Sir Colin McPhail. And here we come to the highest comedy of the evening. Sir Colin is taciturn and shy. Played by Matthew Woodyatt, he’s a lumbering giant ties himself in knots trying to proclaim his feelings, while his mother Lady MacPhail speaks for him and at times the whole of Scotland. Played by Dillie Keane, best known as part of Fascinating Aida, she is an over-the-top Scot forever banging on about the glens and hills of her beloved country.

Attempting to matchmake is Dora, the Dowager Countess of Drumdurris. She constantly appears and disappears through the two doors in classic farce fashion. Sara Crowe was indisposed when I saw the show. While her last minute replacement read the lines well from a script, we lost some of the speed that I am sure was intended by movement director Joanna Goodwin.

Members of the cast play musical instruments. This device is used regularly by The Watermill Theatre and by Pride and Prejudice* (*sort of). It is highly effective in establishing mood and sometimes character and can also help keep us the audience at bay in a play where we are deliberately distanced from being emotionally involved with the characters.

I mentioned Nancy Carroll has packed her adaptation with innuendoes. If you’d like an example, I’ll give you one.  At one musical moment, Fanny offers to fiddle with flute playing Sir Julian.

The sets and costumes by Janet Bird are terrific. The Menier stage area is quite small but versatile. On this occasion, the audience is on two sides, creating an intimate drawing room feel.  The costumes are sumptuous, looking fin de siecle and subtly reflecting the characters. The Twombleys’ home is decorated minmally but with a chintzy late Victorian style including a chaise longue and of course a piano.

The portrait of high society and its fragility, as well as the seriousness of debt, would have been much more recognisable to a Victorian audience, but we are still a class-ridden society and the characters’ many pretensions hit home. And without it ever needing to be stated explicitly, the references to corrupt politics and donations in exchange for influence show times haven’t changed as much as we might hope. I’m sure the rumours that Lord Ali gave Sir Keir tickets for the opening night  are entirely without foundation.

The Cabinet Minister can be seen at The Menier Chocolate Factory Theatre until 16 November 2024.

Paul paid for his ticket.

Click here to watch this review on the YouTube channel Theatre Reviews With Paul Seven

Read what other critics said about The Cabinet Minister

 

 

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