Four Detroit workers’ lives are devastated by redundancy in Dominique Morriseau’s 2016 play. Matthew Xia directs a UK premiere that was generally liked by the critics.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Sarah Hemming in The Financial Times (5★) described it as a ‘funny, humane, deeply moving drama’.
Over at The Stage (4★) Dave Fargnoli called it a ‘powerful and humane drama’. The Guardian‘s Arifa Akbar (4★) said ‘The production itself thrums with life’. Sarah Crompton at WhatsOnStage (4★) talked of ‘the power and compassion of its analysis of the weight that unfettered pursuit of profit puts on the lives of ordinary men and women.’
Nick Curtis in the Standard (4★) talked of ‘a beautifully-observed, well-made comedy drama about hardscrabble existence, and Matthew Xia directs a fine cast with laid-back assurance.’ Alexander Cohen at BroadwayWorld (4★) called it ‘a pummelling emotional workout’. Helen Hawkins writing The Arts Desk (4★) commented, ‘Matthew Xia’s intelligent direction gets the best from the text and this fine cast.’
Lindsay Johns writing for the Telegraph (4★) said the ‘muscular, edgy dialogue…is shot through with tenderness, warmth and psychological veracity’. John Cutler at The Reviews Hub (4★) noted, ‘Absent much of a storyline, the piece works most effectively as a nuanced and finely crafted look at the dynamics of a found family, and at working class lives lived under the constant pressure of unwanted change.’
Dominic Maxwell in The Times (3★) said, ‘Skeleton Crew is full of bright exchanges about the characters’ grim forebodings. It’s a show that sets out to simmer more than come to the boil.’
Matt Wolf at London Theatre (3★) said, ‘even if Skeleton Crew sometimes dawdles when it might otherwise detonate, an exemplary cast foregrounds the need for dignity and compassion’.
Andrzej Lukowski in Time Out (assumed 3★) felt it compared unfavourably with the work of Lynn Nottage on similar themes but nevertheless ‘What Morriseau does extremely well is bring together four well-rounded characters (and) show their lives through the prism of work.’
Critics’ Average Rating 3.8★
Value rating 69 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Mia Kobayashi and Zheng Xi Yong in Your Lie in April. Photo: Craig Sugden
A Japanese manga comic which became anime TV series has reached London theatre as a musical. It’s the story of a traumatised young pianist and a love that may save him. Huge praise for the young stars, Zheng Xi Yong and Mia Kobayashi, is offset by disappointment, mockery even, for many other aspects of the production The American music by Frank Wildhorn received a mixed reception. Reviews are trickling in slowly so do come back for an update.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Gary Naylor in Broadway World (5★) offered this advice (which plenty of reviewers didn’t take): ‘Fold your arms and harumph and you’ll miss the point; get dizzy recalling that first flush of adolescent desire and the agony of its not being reciprocated, and you’re in.’ He thought ‘the songs are plenty good enough to stand on their own two feet.’ He declared, ‘Mia Kobayashi…radiates superstar power.’
For Marianka Swain at LondonTheatre (4★) it ‘has a knocks-you-flat emotional force that you cannot resist. It will absolutely make you cry.’ The songs were key for her: ‘Each one of these sensationally catchy pop-rock anthems has a disarming sincere directness‘. It was, she concluded, an ‘impassioned, uplifting and deeply moving musical’
The Guardian’s Arifa Akbar (3★) listed all reasons she didn’t like it. The book? ‘full of cheesy cliches.’ The characters? ‘Americanised and schematic.’ The plot? ‘overdramatic, underexplained’. The design? ‘mystifying, with a thrown-together look.’ Fortunately, ‘the songs, along with spirited performances, become the show’s saving grace.’ Paul Vale for The Stage (3★) also liked the music: ‘this is Wildhorn’s best score of recent years, capturing both the spirit of manga and the power of music to restore the soul.’
Dzifa Benson writing for the Telegraph (3★) had a negative view of the music ‘let down by Frank Wildhorn’s generic show-tunes,’ but thought ‘All the performances…are spot on’.
‘Buyer beware,’ said Dominic Maxwell in The Times (3★), ‘it’s a cheesefest from start to finish. What can I say, though? Sometimes a platter of cheese is just what you fancy.’
The ‘show is overpowered by the crashing clichés of its story and the clunky Americanisms of Rinne B Groff’s English version,’ said Tom Wicker reviewing for Time Out (3★ assumed). He pointed out, ‘you’re in trouble with a musical when the songs are straining so hard to be inspirational that a plot-device bike ride gets as rousing an anthem as a character’s death.’
Nick Curtis in The Standard (2★) hated it, and he didn’t pull his punches: ‘this emotionally overwrought Japanese musical…strikes me as absurd…it’s glib, mawkish and riddled with clichés.’ As for the music, ‘Frank Wildhorn’s score is dominated by gushy, eyes-aloft, mouth-agape anthems’. Here’s his knockout blow: ‘Anger, grief and anxiety are turned up to 11 for the most OTT songs before the tone slips back to the gurgling, simpering comedy of a teen sitcom.’
Critics’ Average Rating 3.3★
Value rating 44 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Your Lie in April can be seen at the Harold Pinter Theatre until 21 September 2024. Buy tickets directly from yourlieinapril.co.uk
If you’ve seen Your Lie in April at the Harold Pinter, please add your review and rating below
Theatre de Complicite’s Mnemonic at the National Theatre. Photo: Johan Persson
First performed in 1999, Complicité’s legendary experimental work Mnemonic has been revived, with some updating. The stories of a woman searching across Europe and the discovery of a 5000-year-old man preserved in ice are the main strands in an exploration of memory, human migration and identity. It is directed by Simon McBurney, Complicité’s founder and Artistic Director. A high number of five and four star reviews for its dazzling theatricality were offset slightly by those from critics who thought it seemed old hat.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Sarah Hemming writing for the Financial Times (5★) proclaimed it as ‘a profound celebration of the nature of theatre: the collective act of imagination that allows us to collaborate in bringing the past to life…witty, elusive, intensely beautiful and humane.’ Dave Fargnoli in The Stage (5★) ‘Sequences blend fluidly together, with echoing dialogue and recurring gestures carrying through from one scene to the next, creating an aural and visual collage of overlapping content. Understated yet precise physical work offers striking imagery, while plenty of humour keeps the energy up’.
Time Out’s Andrzej Lukowski (5★) talked of ‘brain melting experimental odysseys that’ll rewire your cerebellum’ ‘it builds into something luminous and huge and almost beyond comprehension. Its last few minutes feel like staring overwhelmed at the secrets of creation.’ Dominic Maxwell at The Times (5★) was also bowled over: ‘Scenes, lines and set pieces slip into one another with invigorating speed. Big ideas keep coming, but so do good jokes. No time to get bored.’ He ended with this recommendation, ‘So, still a masterpiece. If you love theatre, see it. If you don’t love theatre, it might just change your mind.’
The Standard’s Nick Curtis (4★) discovered ‘a teeming, fecund representation of McBurney’s ability to make giant associative leaps while drilling down into what makes us human. It’s beautifully performed’. Alex Wood at WhatsOnStage (4★) said the show ‘has a vast, continental sweep that makes it an enthralling proposition for the audience.’ It made an impression too on Nick Ferris at the Telegraph (4★): ‘this remains unique experimental theatre, which will linger in the mind long after its conclusion.’
The Observer’s (3 ★) Susannah Clapp compared this production with the original. She said, ‘the qualities with which Complicité has for ever altered the stage are apparent throughout’ However, ‘this reincarnation is more deliberate, more didactic, more confusing than the original.’
The Guardian’s Arifa Akbar (3 ★) felt shortchanged: ‘with all these exquisite parts, the production does not quite deliver on a promise of profundity in tying them together’. She commented, ‘the show does not feel as much of a revolution of ideas and stagecraft as it did in 1999’. Fiona Mountford at i-news (3 ★) made the same point: ‘what previously appeared so ground-breaking has lost a little of its novelty and lustre since’.
Alexander Cohen at Broadway World (2★) was more blunt: ‘Perhaps in 1999 its dreamlike dizziness was revolutionary. In 2024 it feels too predictable to truly dazzle.’
Critics’ Average Rating 4.0★
Value rating 81 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Starlight Express at the Troubadour Wembley Park. Photo: Pamela Raith
Andrew Lloyd Webber’s Starlight Express is back, and this time it’s a new production in The Troubadour, a warehouse-like venue that has been transformed into an immersive space. It’s the tale of a children’s train set come to life, and underdog Rusty being inspired to win a race with other engines. It may sound like a children’s show but the lively songs and roller skating cast provide plenty of adults to enjoy. Most, but not all, reviewers liked it, some loved it. It was generally agreed to be a spectacular production.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Dominic Cavendish in the Telegraph (5★) was so knocked out by this production, he saw stars, five of them. It’s a ‘head-spinning wonderland’, ‘jaw-dropping’, ‘part theme-park ride, part theatrical revolution’, he enthused, with ‘much magic and life-affirming meaning’. He ended, ‘The energy and bravura of it all are frankly out of this world.’
Paul Vale for The Stage (5★) also gave full marks: ‘(Tim) Hatley’s design is a fusion of industrial brutalism and disco chic, with a racetrack that weaves around the auditorium with ramps, tunnels and a revolve. Gabriella Slade’s sculpted costumes are a meticulously constructed mix of colourful body armour and Lycra that reflect each character.’
The Daily Mail‘s Patrick Marmion (4★) proclaimed, ‘This eyeball-scorching, ear-blasting revival of Andrew Lloyd Webber’s train-racing musical-on-roller-skates is an audio-visual blitzkrieg, the like of which I’ve never seen before.’ Arifa Akbar in The Guardian (4★) was impressed: ‘tailor-made for the Troubadour’s massive auditorium, it erupts like a Vesuvius of light, sound, projection and dry ice under the direction of Luke Sheppard’. The songs, she said, ‘are masterfully sung all round, alongside the athletic feats of the cast.’
The Independent‘s Tim Bano (4★) confessed, ‘It’s more spectacle than sense, an extraordinary creative onslaught, with songs about steam engines cranked out at max volume, all designed to delight your inner child – which it really does.’ He expanded, ‘Everything about it is maximalist. Tim Hatley’s set has ramps and revolves and sliding doors, costumes by Gabriella Slade turn humans into Transformers/Power Rangers/living cartoon things.’
‘Starlight Express is possibly one of the world’s most bizarre musicals,’ declares Aliya Al-Hassan at Broadway World (4★). Nevertheless, ‘The auditorium itself feels like being thrown into the middle of an arcade game’ and she concludes, ‘As a theatrical experience, this will make a life-long impression on many young theatre-goers’.
Marianka Swain for LondonTheatre (4★) sounded like she needed to breathe into a paper bag: ‘the actors playing trains whizzed right past me on roller skates at heart-pounding speeds. But that’s just the beginning of this mind-blowing state-of-the-art experience.’ She continued, ‘This tech-wizard production also boasts the biggest lighting rig I’ve ever seen in theatre, and a phenomenal display from Howard Hudson’ and concluded, ‘It’s an awe-inspiring stadium gig-meets-theme park ride of a show’.
The Times’ Clive Davis (4★) thought it was a great show for children: ‘The director Luke Sheppard moves things along at a gallop.’
Time Out’s Andrzej Lukowski (3 ★) admitted, it’s ‘a lot of fun and has no aspirations to be anything other than exactly what it is.’ ‘It is technically dazzling,’ he added. Dominic Maxwell in the Sunday Times (3 ★) summed up: ‘mostly catchy songs, a crack cast, choreography and design let the trains take the strain of anything so tedious as rational thought.’
There’s always someone who’ll throw leaves on the line, and on this occasion it’s Fiona Mountford at the i (2★) Among the many things she disliked was the way ‘Large video screens pump out irredeemably naff 80s-style graphics’. She was left in the sidings by the production: ‘this slick but soulless show left me none the wiser’
Critics’ Average Rating 3.9★
Value rating 38 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Starlight Express is at the Troubadour Wembley Park Theatre until June 2025. Click here to buy tickets direct from Troubadour Theatres
If you’ve seen Starlight Express at the Troubadour, please add your review and rating below
The Secret Garden at The Open Air Theatre. Photo: Alex Brenner
Frances Hodgson Burnett’s much loved but dated story about a child who moves from India to Yorkshire has been adapted by into a play relevant for today, and given a highly praised open air production by Anna Himali Howard.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Fiona Mountford in the i (5★) loved it: ‘Holly Robinson and Anna Himali Howard, who also directs, have hit the jackpot here, maintaining all Hodgson Burnett’s key themes of a lonely and disagreeable orphan coming to life and finding friendship in nature, but cleverly amplifying the Indian side of Mary Lennox’s story.’
Anya Ryan in The Stage (5★) was entranced : ‘Marvellous, wise and expertly updated, it is sublime.’ She explained, ‘the victory of this adaptation is as much down to the ensemble work as the writing. The narration is shared between the cast members, who take it in turns to lead us through Mary’s story.’
Rachel Halliburton reviewing for The Times (4★) said, ‘Hannah Khalique-Brown… quickly makes her mark as an impressively petulant Mary… the cast around her acts like a chorus, wryly commenting on her spiky progress into a strange new world.’ She praised every aspect of the show including’Leslie Travers’s spellbinding design — full of hidden doors and ravishing paper garland plants — is the icing on the cake, fusing elegantly with the trees and birdlife of Regent’s Park. It’s a treat’
Arifa Akbar at The Guardian (4★) called it ‘it is an inspired transposition of a story that deals with dark themes around family and belonging’. Her colleague Susannah Clapp at The Observer (4★) said, ‘It is a lovely thing that adapters Holly Robinson and Anna Himali Howard have done with The Secret Garden.’
Anna James for WhatsOnStage (4★) noted, ‘Hannah Khalique-Brown as Mary stands out, giving a particularly moving and detailed performance’. Caroline McGinn writing for Time Out (4★) referred to ‘the creative ebullience of a charming and lovely production’.
Kat Mokrynski for Broadway World (4★) found ‘a beautiful adaptation of the classic novel that truly elevates its source material, bringing it to new heights of growth and love’. Nick Ferris reviewing for the Telegraph (4) agreed: ‘the production ultimately does a fine job at retaining the charm of the novel while making it appropriate for now.’
Patrick Marmion in the Daily Mail (4★) described how the ‘smoky Indian flute, twang of sitar and rumble of tabla drums, alongside cleverly improvised incarnations of crows, robins and squirrels, bring fresh enchantment to a classic tale.’
Julia Rank for LondonTheatre (3 ★) likedthe way ‘This new adaptation…keeps the Edwardian setting while implementing some intelligent revisionism’ but said it needed ‘a bit more pruning’.
Critics’ average rating 4.1★
Value rating 69 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Mean Girls at the Savoy Theatre. Photo: Brinkhoff Moegenburg
Mean Girls, in the words of WhatsOnStage’s Sarah Crompton, is ‘a cautionary musical tale of high school rivalries, corruption and betrayal wrapped in a very pretty pink bow‘. Tina Fey’s stage musical version of her movie script was a Broadway hit; six years later, it has arrived in the West End. Was it worth the wait? The critics generally liked Tina Fey’s book (script) but there was disagreement on the quality of the songs.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
Fiona Mountford in the i (4★) was a fan: ‘Jeff Richmond (composer) and Nell Benjamin (lyrics) supply a highly tuneful score that is a riot of peppy, poppy songs; unusually for a new musical, I came away humming several of the numbers.’ She said, ‘Director/choreographer Casey Nicholaw…certainly knows how to concoct a slick production’.
Adam Bloodworth at CityAM (4★) was equally enthusiastic: ‘it feels freshly powerful for a new generation rather than treading in the footsteps of the original. That’s mainly thanks to Nell Benjamin’s pumping musical score that neatly translates the sassy characters’ stories onto the stage, and Casey Nicholaw’s direction and choreography, which is gripping and pacey…it feels freshly powerful for a new generation rather than treading in the footsteps of the original.’
Sarah Crompton at WhatsOnStage (4★) discovered ‘a book as corrosive as acid but much funnier’. She had a reservation: ‘The problem is that the songs, with music by Fey’s husband Jeff Richmond and lyrics by Nell Benjamin, are syrupy where the script is sharp…they crucially extend the show…to a slightly sagging two and a half hours.’ She concluded, ‘All the skill involved makes it hard not to succumb. This is a genuinely enjoyable show with its heart in the right place’.
Despite describing it as ‘mere chaff’, the Telegraph’s (4★) reviewer called it ‘a rare combination of warmth, goofiness, snarky wit and perceptiveness.’ It came across to Susannah Clapp in The Observer (4★) as ‘a friendly, popular show‘.
Chris Wiegand for The Guardian (3★) felt ‘too many routines are efficient rather than euphoric. The pristine school surroundings and several bland songs result in a sometimes flat production’. He conceded, ‘It’s often fun, and is well cast and impressively acted, but just needs an extra shot of dazzle and acidity.’
The Sunday Times’ Dominic Maxwell (3★) ‘found an oddly sluggish first half’ with songs that ‘run the gamut between the passable and the adequate’. Fortunately, ‘Jokes still land, the acting is terrific and the songs have more emotion to play with as the story clicks into gear in the second half.’ His colleague at The Times, Clive Davis (3★), said, ‘it’s engaging enough, although Fey’s one-liners linger longer in the memory than most of the bubblegum songs’.
Nick Curtis in the Standard (3★) thought it was a ‘breezy, arch but boneless musical adaptation’ with ‘poppy, mostly forgettable songs’. He found, ‘You find yourself wishing for each number to end so we can get back to Fey’s insouciant wit.’
Anya Ryan for The Stage (3★) was disappointed that ‘Nothing feels surprising.’ However, ‘Jeff Richmond and Nell Benjamin’s poppy songs feature plenty of bangers’ and ‘Fey has certainly put her finger on something: she knows girls can be savage, sly and criminally mean’. She is sad that ‘It’s just a shame then that the constant re-churning of this story is starting to feel soulless’.
Tim Bano in The Independent (2★) wasn’t mean exactly,but he was sarcastic: ‘If the movie didn’t exist, this would be fine. I mean, the score by Fey’s husband Jeff Richmond would still be a bit anodyne, every song filler-y, most of them unmemorable, the direction by Casey Nicholaw functional, his choreography fruitlessly maximal, the digital set a bit empty and unimaginative.’
Critics’ average rating 3.3★
Value rating 37 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Mean Girls The Musical can be seen at the Savoy Theatre until 6 April2025. Buy tickets direct
If you’ve seen Mean Girls at the Savoy Theatre, please add your review and rating below
James Corden returns to the West End stage to star alongside acting superstar Anna Maxwell Martin in a relatively small play by Joe Penhall about a confrontation between an angry constituent and his basically decent MP. The Old Vic’s artistic director Matthew Warchus directs, putting the audience, traverse style, on two sides of a narrow stage for this look at the state of Britain and its politics. The critics praised the two leads but there were mixed feelings about the play: two really liked it and one handed out two stars.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
The Guardian’s Arifa Akbar (4★) was a cheerleader: ‘Played straight through at 90 minutes and resolutely focused on local politics, it becomes universal by being so specific.’ She pointed out, ‘Each of these characters is a victim of the system, hanging on, just’. She thought, ‘Maxwell Martin is subtly brilliant’
Aliya Al-Hassan for Broadway World (4★) also approved wholeheartedly. ‘Penhall’s script is not a polemic and brings out the humanity in the characters’. She liked both the main actors, saying, ‘The pair have excellent chemistry and their shifting relationship is very believable.’
For Sarah Hemming in the Financial Times (4★) ‘Corden and Maxwell Martin are excellent’ and ‘Penhall’s play makes the case for more care and empathy. He reminds us of the other meaning of constituent — “to be part of a whole”.
Marianka Swain for LondonTheatre (4★) said, ‘The ideas occasionally supersede the people, but the strong cast, and a good amount of humour in Penhall’s script, keep us gripped.’
Natasha Tripney for the Standard (3★) thought ‘the surprisingly thin play squanders both its timely subject matter and the talents of the cast.’ She assured us, ‘Corden does a strong job, capturing the character’s intensity and increasing desperation’.
Sam Marlowe in The Stage (3★) thought it was a ‘crisp production’ and that ‘Penhall’s dialogue is packed with zap and zing’ She said ‘the performances are pretty much faultless’, however she found ‘the play is at once too narrow and too broad’.
Dominic Cavendish in the Telegraph (3★) thought ‘Penhall’s script…nicely handles the blend of comedy and darkening aggro.’ For him, James Corden was ‘all fixed intensity and hunched affability, then moves across 90 minutes to reveal a more bellicose side to the blustering persona, before showing us a sobbing emblem of broken Britain, alienated from the system’.
Susannah Clapp in The Observer (3★) found ‘The dialogue is heavy with explanation and the action slowed by overload’. She said James Corden showed ‘what a versatile actor he is.’ Time Out’s Andrzej Lukowski (3★) praised James Corden as ‘an actor of range and substance’ and thought ‘Maxwell Martin is terrific’, but he damned the play with faint praise as ‘decent’.
Alun Hood for WhatsOnStage (3★) thought the play was ‘enjoyable, tartly funny and almost reaches the tension level of a thriller’ but he had a reservation: ‘it smacks of a very fine writer wanting to dash off something relevant and timely, without really offering anything genuinely illuminating or new‘. He observed, ‘Corden isn’t a subtle actor, painting with broad, blunt colours, and possessed of a monotonous line delivery…but his unique combination of manic energy, bluster and simmering aggression work well for the character.’
It didn’t get CityAM ‘s (2) Adam Bloodworth’s vote. He was contemptuous of its male star: ‘Corden is on auto-pilot’. He is hardly less complimentary about the play: ‘Joe Penhall’s script is full of jokes that don’t land and the set up is clunky and hard to believe.’ As for the production, ‘it’s over stylised to the point that it kills the drama’.
For The Times’ Clive Davis (2), the play was ‘tepid’, lines were ‘leaden’, Corden ‘can’t bring enough depth’, and Maxwell Martin ‘strikes a monotonously querulous note’.
Critics’ Average Rating 3.2
Value rating 42 (Value rating is the Average Critic Rating divided by the typical ticket price.)
The Constituent can be seen at the Old Vic until 10 August 2024. Buy tickets direct from The Old Vic
If you’ve seen The Constituent at the Old Vic Theatre,please add your review and rating below
Barry Sloane in Boys From The Blackstuff. Photo: Alistair Muir
I wonder whether, in the normal way of things, James Graham, author of Dear England, or any other contemporary dramatist, would write a stage play about some men in 1980s Liverpool who have lost their jobs and commit benefit fraud? Possibly not, but then, this is Boys From The Blackstuff, a TV legend from the early 80s. So, how does it translate onto the stage? And was it worth the effort?
I wonder if you have even seen the TV series by Alan Bleasdale? And if you have, how much do you remember of it? (You can catch up with it on BBC iPlayer.) If you’re a fan, you may enjoy this version as an exercise in nostalgia. However, because you might not know the incomparable five-part TV series by Alan Bleasdale, I’m not going to compare this two hours and a bit play with it. Instead, I’ll consider whether it stands up as a theatrical drama in its own right.
The first act is very bitty. There’s far too much in the way of introductions and scene setting. We meet the five ‘boys’ but they appear in a series of fragmentary scenes. We don’t really get to know them. Certainly not well enough to care about their fate, which is inevitably to be caught by the benefit fraud sniffers.
What kept my interest during the first act was the production itself- the varying pace of Kate Wasserberg‘s direction, encompassing rousing ensemble singing, fast-moving crowd scenes, and moments of still sadness; the rusty industrial set by Amy Jane Cook; the video by Jamie Jenkin of black and white images of 1980s Liverpool projected at the back of the stage, so often returning to the swirling waters of the Mersey, which was the source of Liverpool’s glory years as a port.
But the docks are already in decline, our heroes are not dockers but roadworkers, or rather they were. We find out how they brought some of their problems on themselves, and there are many reasons, including greed and selfishness, why they don’t appear to deserve our sympathy. The emotional engagement only picks up when a tragedy occurs. The scene when someone falls from high up is performed in slow motion and immediately segues into a rainy funeral. It’s a wonderfully theatrical moment.
‘I am a human being’
The second act is altogether more involving as drama. The narrative brings the main characters into focus. Chrissie, played to perfection by Nathan McMullen, is the ‘nice’ guy who tries to be their leader and faces a conflict between principles and practical need. Philip Whitchurch as George, their mentor, brings passion and compassion to the part of an old, dying man. Aron Julius is the restless Loggo, and Mark Womack plays the dignified Dixie, dragged down by his situation. And then, of course, there is Yosser. Even if you’ve only vaguely heard of Boys From The Blackstuff, you will probably be aware of Yosser Hughes and his catchphrases ‘Gissa job’ and ‘I can do that’. In the first act, he is comic relief. In the second, we get to see the depth of his mental illness. It is a monumental performance by Barry Sloane that conveys every inch of Yosser’s anger and pain. These are all men for whom life has not turned out as expected and who are struggling to find their self respect in a world that has rejected and persecuted them. ‘I am a human being,’ cries an anguished Yosser.
The cast of Boys From The Blackstuff. Photo: Alistair Muir
But it’s not all anger and pain. There is considerable humour. In a scene that had me laughing out loud, Chrissie’s wife Angie, played by Lauren O’Neill (who is outstanding in multiple roles) pretends not be home, and crawls back and forth on her knees, talking through the front and back doors to callers as well as answering the telephone. Just as comically tragic is Yosser’s meeting with the priests from the Catholic and Protestant churches, at either end of the ironically named Hope Street. Both conversations are an indictment of established religion. Seeing a similarity between free will and free markets, he says, ‘So God’s a tory.’ And, when the friendly Father says ‘Call me Dan’, he speaks the much-anticipated line ‘I’m desperate, Dan’.
The rest of the cast are faultless, and take on a number of roles but I’ll make particular mention of Dominic Carter who plays theshady builder Molloy and Jamie Peacock as the hapless benefit fraud investigator.
An article in the excellent programme talks about the ‘current political parallels’ but they are not always easy to grasp. It’s not that the plight of many working class people under Margaret Thatcher’s Conservative government wasn’t tragic. Traditional industries were decimated in her relentless battle against the unions, and the lives of the people employed in them destroyed. It’s just that it’s a long time ago. There is still the gap between rich and poor, maybe even getting greater, and benefit cheats are still demonised while corporation tax evaders are virtually ignored. I imagine the modern day equivalents of those Boys from the Blackstuff being employed in low wage and zero hours jobs fulfilling our orders in vast warehouses or delivering takeaways on bikes to our homes, as part of a non-unionised service economy.
Perhaps it’s in the treatment of people who need help not demonisation that the stories most resonate today. Sadly the play tries to cram too many stories into the time available. As a result, we lose some of the sympathy that we might otherwise have felt for these lost boys, had we had the chance to get to know them better. Nevertheless, it is a powerful drama, extraordinarily well acted.
Boys From The Blackstuff opened at Liverpool’s Royal Court, before transferring to the National Theatre, and then the Garrick where it can be seen until 3 August 2024. Tickets are available from thegarricktheatre.co.uk/tickets
Stephanie J Block & Adrian Dunbar in Kiss Me Kate. Photo: Johan Persson
The Barbican must be hoping Kiss Me Kate follows in the footsteps of that other Cole Porter musical Anything Goes which was a huge critical and financial success for them a few years ago. The added attraction is the prospect of seeing Adrian Dunbar from Line Of Duty as the male lead. The critics were generally complimentary about Bartlett Sher‘s staging of the musical-within-a-musical that is inspired by Shakespeare’s Taming of the Shrew, and features songs such as I Hate Men and Brush Up Your Shakespeare. Their reaction to Mr Dunbar was on the whole lukewarm, but they had no reservations about the quality of his co-star, Broadway musical royalty Stephanie J Block.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
The Guardian‘s David Jays (4★) said, ‘In Bartlett Sher’s plushly enjoyable staging, it delivers glorious music and falderol frivolity.’ Clive Davis in The Times (4★) called it ‘enormous fun’. Tim Bano for The Independent (4★) found it, ‘a supremely lovely, supremely silly way to spend a summer evening’. He praised Stephanie Block’s solos as ‘models in how to control your voice, invest emotionally in a song and knock the roof off.’ Gary Naylor for BroadwayWorld (4★) was sure ‘few will leave feeling short-changed, even at these prices’.
Adam Bloodworth at City AM (4★) declared: ‘Stuffed with old-fashioned jokes that should probably have this show cancelled, hilarious comic sketches and some stunning pieces of choreography, Kiss Me Kate is a showstopper of a summer musical’. Alex Wood at WhatsOnStage (4★) said it was ‘a scorchingly successful night out‘. Tom Wicker for Time Out (4★) was also won over: ‘This is a lush, wittily spectacular production’. He had particular praise for Stephanie Block: ‘Block commands the stage. She’s charismatic, versatile and makes every note – in every sense – sing.’ He thought the two leads ‘have delightful chemistry’.
Nick Curtis in the Standard (3★) disagreed and described it as ‘solid, serviceable, but unexciting, thanks partly to the lack of chemistry between the leads.’ The Stage‘s David Benedict (3★) was on the same wavelength about the lack of chemistry: ‘Bartlett Sher’s fitful, over-bright, strained staging most often misfires because of chemistry – or, rather, the lack of it.’
So, what about Adrian Dunbar?
Fiona Mountford at the i (4★) devoted much of her review to praising him: ‘Dunbar can both hold a tune and command the Barbican’s imposingly large stage.’ The Times was happy enough with his performance, ‘He may not be the most potent of singers — at times he seems to be coaxing his voice over the hurdles — but he certainly doesn’t disgrace himself.‘ Time Out too was complimentary: ‘Dunbar has a decent voice and a lovely way with gentle comedy.’
A few reviewers had reservations. The Independent said, ‘He can hold a tune, but there’s a tight, buzzing bee quality to his voice’. The Guardian wasn’t convinced, ‘Dunbar has some dapper moves and a pointed way with a lyric. Vocally he is, shall we say, brave casting for a role often taken by operatic baritones’. The Standard noted, ‘He sings better than I had hoped but seems uncomfortable and off the pace throughout’.
Two more reviews were downright disapproving. The Stage said, ‘while Block acts with Adrian Dunbar…he merely acts at her…Dunbar gets away with comedy numbers, but his obvious unease around pitch and the extreme vocal range robs the songs and the show of emotion and potential glory.’ Broadway World liked him for ‘Television, films, straight plays… but not musicals’.
Average critics’ rating 3.8★ Value Rating 30 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Kiss Me Kate can be seen at the Barbican until 14 September 2024. Buy tickets direct from The Barbican
If you’ve seen Kiss Me Kate at the Barbican, please add your review and rating below
Bronté Barbé and Rebekah Hinds in Kathy and Stella Solve a Murder! Photo: Pamela Raith
Kathy And Stella Solve A Murder! is the latest British musical comedy to make the trip from the fringe to the West End. It follows in the footsteps of Six, Operation Mincemeat, Two Strangers and more. We seem to be in a Golden Age for the small homegrown musical, so much so they’ll soon have to form an orderly queue for a central; London venue.
In this musical by Jon Brittain and Matthew Floyd Jones, Kathy and Stella, who produce a weekly crime podcast, investigate an actual murder, but the show is as much about friendship as whodunnit. Unfortunately, the press night was cancelled after a flood and some major media have yet to offer an opinion. (Of course, the Guardian may simply be following its intermittent policy of not reviewing West End transfers.) It has been well received by nearly all those who have managed to see it. Bronté Barbé and Rebekah Hinds who play the eponymous investigators are praised, as are the rest of the cast. Opinion on the quality of the music is divided.
[Links to full reviews are included but a number are behind paywalls and therefore may not be accessible]
For Alice Cope at Broadway World (5) ‘this show is a delight. The murder mystery story is largely told through the catchy and well crafted musical numbers…Every line is intended to not only entertain but also effectively drive the plot forward and develop the characters.’ She noted, ‘Bronté Barbé and Rebekah Hinds…have terrific chemistry’.
Alex Wood at WhatsOnStage (4★) discovered ‘a juicy, but never burdensome, through-line about the ways in which gender, true crime and online communities can intersect.’ He declared, ‘The second half is about as pacy and as raucous as they come.’ He loved the ‘sublime central performances’ and concluded, ‘All in all, it amounts to a killer addition to the musical pantheon.’
Radio Times’ reviewer Olivia Garrett (4★) shared his enthusiasm: ‘The show pumps out macabre gags and earthy one-liners like there’s no tomorrow.’ ‘The songs are definitely catchy,’ she assured us. As for the stars, ‘Barbé is excellent as the intelligent but anxious Kathy…Hinds matches her in every way as the belligerent Stella.’ Here’s the big climax: ‘Overall, Kathy and Stella is fresh, funny and comes with many layers to slice into. Whether you’re a fan of musicals or not, it’s bloody good fun.’
Marianka Swain writing for London Theatre (4★) loved it: ‘The show is buoyantly funny, teeming with macabre gags and Victoria Wood-esque specific one-liners, the pop-infused songs are instantly catchy…and there are narrative twists a-plenty.’
Andrzej Lukowski at Time Out (4★) was almost as excited, saying it ‘ingeniously yokes the breathlessness of the true crime podcast genre to the big emotions of a musical.’ He praised the ‘whip-sharp book and lyrics’ and said it was ‘abundantly creative, funny and musically dextrous’. Holly O’Mahony writing for The Stage (4★) called it ‘a knowingly silly, slyly funny story’.
Dominic Maxwell in the Sunday Times (3★) enjoyed the ‘energetic and inventive’ show. However, ‘The songs by Matthew Floyd Jones are jaunty and deft, but rarely memorable and ‘The show has an opinion on the appeal of true crime and podcasts, but chooses not to delve deep on such issues.’
Only Nick Curtis of the Standard (2★) went away unimpressed, complaining that it ‘asks you to laugh along with its ridiculous storyline, feckless lead characters and bland, belted-out score.’ He found ‘the constant barrage of gurning and caterwauling is a major turn-off.’ And concluded, it ‘left me dead inside.’
This is what Clare Brennan had to say in The Guardian (4★) about the show’s earlier run in Manchester: ‘A cracking cast plays the positives with gusto, swiftly seguing set and mood changes, delivering power ballads and comic routines with physical and musical dexterity.’
Average critics’ rating 3.8★ Value Rating 47 (Value rating is the Average Critic Rating divided by the typical ticket price.)
Kathy and Stella Solve a Murder! is at the Ambassador’s Theatre until 14 September 2024. Buy tickets direct from kathyandstella.com
If you’ve seen Kathy And Stella Solve A Murder!, please add your review and rating below
