Gilded Butterflies at the Hope Theatre boggles the mind!

Period poverty, moths, dinosaurs and tomato plants are but a few things that have us hooked in this claustrophobic and uncomfortable piece. In Florida, far away from the dazzling lights of Disneyland and Universal Studios, two women sit in their cells where the lights never go off and people rarely come and visit. Directed by Kathryn Papworth-Smith and devised by the company, this piece shines a light on life on death-row and is based on true events, making it deeply uncomfortable to watch — it is truly engaging, bringing attention to a topic not often discussed on stage.

Price I paid: £0
Where I got the tickets: Through the company
Tickets range from: £12-£15
Theatre: Hope Theatre
Dates: 6th-24th November
Rating: ★★★★

Maggie likes to paint, she loves her husband and she grows tomatoes. Idyllic things — however, beetroot juice serves as her paint, she uses her hair as a brush, her husband never seems to reply to her daily letters and her tomato plant is growing in a garden that she’s not allowed to step into. Maggie is on death row, has been there nearly a year. She’s not had a neighbour in a long while it seems, but that’s just changed.

Francesca McCrohon’s portrayal of Maggie had me on edge – the eye contact she makes wit the audience in her first monologue had myself and the rest of the audience trying to avoid meeting her eye. This was perhaps due to the intimacy of the space ( we may as well have been sharing her 6 ft x 9 ft cell ) or what felt like her desperation to connect with the outside world, but it already gave us an insight into Maggie and her seemingly innocent and optimistic thought process.

This is perhaps opposed by the steeliness of Samantha Pain’s multi role of the new neighbouring prisoner and Maggie’s lawyer and sister. These characters pale in comparison to Maggie, which only enhances the plays raw energy and makes the audience shift in their seats as they watch the mystery as to just what Maggie’s done unfold before them.

The play is split into scenes that are transitioned sometimes with sounds that make the audience wince or jump, supposedly mirroring some of the feelings the women in this position may feel – forever being hook from what they’re focusing on to lay on their bed every hour when a guard comes around to check on them.

Bitter and raw, this piece keeps you engaged as you realise how deprived these women are, how the system fails them on every aspect, be it giving them one sanitary towel a day on their period, punishing them by denying them a shower or even how they have to have their lawyers ( who usually are too busy to want to talk and check on their client’s mental health ) file requests to court for things as simple as books or a mirror.

I can only hope this play finds success on other stages as it has at the aptly named Hope Theatre.

For more information visit the Hope Theatre’s website.

Dealing With Clair brings satire to the property ladder!

A social satire from Martin Crimp, Dealing With Clair follows a young estate agent who juggles a selfish couple with their newborn and a strange cash buyer who deals exclusively with Clair. Estate agency is a topic rarely found of dramatic interest, but in this piece directed flawlessly by Richard Twyman, we’re on the edge of our seats. It’s an unsettling work of art.

Price I paid: £12.50.
Where I got the tickets: Orange Tree website
Tickets range from: £12.50-£25
Theatre: Orange Tree Theatre
Dates: 26th October – 1st December
Rating: ★★★★★

Mike and Liz want to sell their London home. James is an art-dealer with just the right amount of cash they’re looking for. Trapped between them, trying to orchestrate a deal is Clair, an estate agent who assumes this is just another house, just another sale.

Set in a minimally-furnished gauze box in the middle of the stage, this play feels more intimate than anything else I’ve seen at the Orange Tree before. We feel as though we’re voyeurs in these negotiations. Lizzy Watts takes up the role of Clair with an innocence we sympathise with — she has such a nuanced performance that the audience are endeared to her. This is greatly opposed by the bumbling idiocy of Mike (Tom Mothersdale), who is one half of the couple trying to sell their London home for an ever-growing price and his wife Liz (Hara Yannas) who is the caricature we’re all used to seeing in our local coffee shop — the mother with a baby on her hip, yoga pants clinging to her and speaking in a precocious tone that dominates any conversation.

As the play goes on, James – played in such a dauntingly debonair way by Michael Gould – recants his stories about family, makes excuses for a missing wife and guesses facts about Clair and her life. Facts that are scarily close to home.

The case of Suzy Lamplugh is currently in the news again, opening back up on the night of Press at the Orange Tree Theatre, which brings another chilling layer to the play and the topics raised by it. Perhaps the most chilling part is that none of the characters presented are unfamiliar to us.

With standout performances from all the cast, this play will have you hooked from the very beginning. It brings you away from your everyday and gives you an unsettling slice of life feel.

I highly recommend seeing it before the run is through.

For more information and to book tickets, visit the Orange Tree Theatre’s website.

A Very Very Very Dark Matter is Very Very Very Much Like Marmite!

Set in 19th-century Copenhagen, the play – directed by Matthew Dunster – draws on satire and political incorrectness to comment upon the colonisation and exploitation of Africa by Europe and indeed the rest of the world. It has people cackling throughout, quickly catching themselves when they realise that this play has some relevance in our world today.

Price I paid: £20
Where I got the tickets: Todaytix
Tickets range from: £15-£65
Theatre: Bridge Theatre
Dates: 12 Oct 2018 – 6 Jan 2019
Rating: ★★★

Firstly, let me say that I did adore this piece, thought I took back a star for its lack of accessibility — Martin McDonagh truly flexes his dark writing skills once again, giving us a mysterious story about Hans Christian Andersen’s helping hand. The play demands the full use of your imagination and an open mind, and I think that one ought to know that before going and seeing this play.

However, that is not to say that the play isn’t horrifically interesting and entertaining! Jim Broadbent presents Andersen in such a way that we find it hard to picture this man writing our favourite childhood stories — he struts across the stage, depicting the great writer as a twisted buffoon with little empathy and a sick sense of humour. This outrageous performance is put against that of Johnetta Eula’Mae Ackles as Marjory, the strong woman who steals the spotlight throughout. Her performance is multi-faceted and entertaining which opposes the bumbling kiss-up Andersen.

I’m always a little in love with the set design of Anna Fleischle. The marionettes that hang from Andersen’s attic ceiling are many, providing an ever-present feeling of being watched, a pressing feeling that might be subtle, but provides an excellent backdrop to this dark piece.

Broadbent’s narcissistic, idiotic and somewhat-obsessed-with-his-good-friend-Edvard Andersen comes to blows with Charles Dickens in perhaps one of my favourite scenes of the play. Phil Daniels shows Dickens in a way we were never taught about in GCSE English Literature and he’s certainly nothing like Gonzo’s Dickens in A Muppets Christmas Carol however, he had the entire audience in stitches.

A couple of other great performances came from the ‘Red Men‘ Barry and Dirk, two Northerners who’ve inexplicably time-traveled to find Marjory — played by Graeme Hawley and Ryan Pope respectively, these two add to the comedy of the play, even if you don’t understand their characters until halfway through this 90 minute play.

This play is running until January and I implore anyone who has enjoyed McDonagh’s work previously, or is interested in a play that is a bit out there to get down to the Bridge and see it!

For further information and to book tickets visit the Bridge Theatre’s website.

An ASPecially fantastic cast brings Shakespeare’s Antony and Cleopatra to life at the National Theatre.

Before we begin, I have to apologise for that asp based pun. There will be no more tomfoolery in this review. Perh-asp. Simon Godwin breathes new life into this epic play. With a cast led by the brilliant Ralph Fiennes as cupid-struck Antony and Sophie Okonedo who owns the stage and audience’s hearts as Cleopatra, the National doesn’t fail in putting a refreshing spin on yet another Shakespeare play.

tony

Price I paid: £7.50
Where I got the tickets: National Theatre (via the Entry Pass Scheme)
Tickets range from: £15-£68 (or £7.50 for any seat with Entry Pass)
Theatre: Olivier Theatre
Dates: 18th September – 19th January
Rating: ★★★★

Shows in the Olivier never fail to put that great space to good use, revolving

floors and scenery coming up from the depths of the theatre always leave an audience awestruck – and sometimes in cases such as Wonder.Land, bored of its overuse. This play got the balance just right in that aspect. The modern world meets the old in this piece, with a set designed by Hildegard Bechtler that is simple enough and takes nothing away from the goings-on onstage.

Some enjoyable moments came from the live band and singer pr

vides slick changes between the scenes and enhances moments of the play and keeps you in the world of the play. The Olivier is known for providing live music in many of its pieces and this is no different – the band surely deserves a commendation for their part in this show.

There was a slight hint of third-preview slip ups in this performance, but it can

forgiven due to the actors stellar performances. Okonedo wowed the audience with her portrayal of the Egyptian Queen, showing such strong and diverse emotions throughout and showing Cleopatra for the strong woman she was. I had high hopes for her performance and she did not let us down, bouncing off of Fiennes with the chemistry of true lovers. A truly mesmerising performance from both, though Okonedo did indeed steal the show, playing her role with such zeal and enthusiasm, which perhaps encouraged Fiennes in his own performance as Herculean Marc Antony. You almost forgot that they were not these historic figures in reality.

Other stand-out performances came from Fisayo Akinade, playing the loyal Eros – whose wit and charm had the audience both in giggles and gasps. Caesar was given new depth by Tunji Kasim, Tim McMullen played Enobarbus with comic timing and emotional turmoil that should be admired and Gloria Obianyo deserves a special nod for her ever-doting Charmain.

This is a fantastic piece of Shakespearean theatre done very well across the board — it is early in its run and will no doubt enjoy a fantastic time at the National.

For further information and to book see the National Theatre’s website.

‘When does a place become a home?’ — The Jungle at the Playhouse Theatre is not to be missed!

An urgent piece written by Joe Murphy & Joe Roberston, The Jungle tells the story of refugees living in the Jungle at Sangatte, Calais. It’s wonderful direction comes from Stephen Daldry & Justin Martin, who with the aid of their multi-talented cast, subliminal set, create a piece that is not to be missed.

Price I paid: £15
Where I got the tickets: Today Tix
Tickets range from: £15-£125
Theatre: Playhouse Theatre
Dates: 116th June – 3rd November
Rating: ★★★★★

I see a lot of theatre and friends of mine will tell you that I will be able to find fault in even the best of shows I’ve seen and wouldn’t give something five stars. I thought this would be true still when I began this blog, but The Jungle has truly changed my mind.

If you snag a seat in the café (which I highly recommend; I was sat at the stage itself), JUNGLE you walk through a kitchen and into a tent. A restaurant within this grand theatre. You sit at tables, or lounging on the throw pillows in various countries. the entire piece is vivid and convincing from the moment you take your seat. Actors emerge, produce chai for the audience members and chattering among one another. Immersive has been taken to a new level with this piece, with set playing a key part, and we can only thank Miriam Buether for her design on this show.

Whether you be sat in this Afghan café ran by Salar, played by the effervescent Ben Turner, or sat upon the white cliffs of Dover (traditional dress circle seating), you will be affected by the themes and characters in this story. You’ll simper over the British volunteers: Paula the f-bomb dropping child protector, Sam the posh-o from Eton and Beth the young woman who is so deeply and personally touched by the people she’s setting out to help to name but a few. Then of course there are those seeking safety in the make-shift town, their stories are heard – how they crossed deserts and seas to find safety in somewhere that is neither there nor here and how they try to get to the UK by any means.

Safi – played by Ammar Haj Ahmad – an ex-literature student from Aleppo who is known and liked by all in camp, provides the narration for this story with the aid of the cast who provide moments of music, dance, comedy and even a little bit of kung fu.

There were so many stellar performances – John Pfumojena (Okot), Jonathan Nyati (Mohammed), Nahel Tzegai (Helene) and debut RADA graduate Eric Sirakian (Norullah).

Overall, this piece comes at a perfect time for our nation; though the jungle may be no longer, the topic of Refuge and Immigration is at the forefront of most peoples minds and is a recurring theme in our media, but it never typically comes from those who are affected. It is a piece with so many things to say and I really do implore you to get your ticket to see this show as it is a story that, like refugees themselves, needs to be heard everywhere.

For further information and to book see the Playhouse Theatre’s website.

Tickets on the Cheap

I thought I would write up a quick how-to on getting the cheapest tickets London has to offer… some may be easily done and others not so, but here’s a few suggestions.

TodayTix: This smartphone app is a lifesaver and where I head first when booking shows. You’re able to get tickets to most of the West Ends hit shows for relatively cheap. They take bookings for a month in advance, though I usually use the app to book for same day theatre trips. They hold lotteries for some of the major shows such as Kinky Boots, Everybody is Talking About Jamie and Dreamgirls where you could win a front row seat for £15-£20 and have ‘rush tickets’ available from 10am everyday for other shows such as Bat Out of Hell and Allelujah.
They also never sell a seat with a restricted view, which is pretty good; the last thing you want when settling into your £15 seat beside someone who’s paid £75 is a massive pillar right in front of your smug little face.
National Theatre Entry Pass: If the National’s prices weren’t cheap enough (£15 travelex tickets are free flowing in that glorious theatrical epicenter) then, for all those youthful people aged 16-25, there’s a bonus – signing up to this free service entitles you to £7.50 tickets for every NT production and no, they’re not all of the awful ‘i-can’t-see-a-thing’ seats, they’re any seat. I recently bought a ticket to Exit the King and my £7.50 seat is front row.
You won’t have to go alone, either! Entry Pass allows you to purchase one £10 ticket alongside your own for a friend, though they have to be within that age bracket too so no, you can’t bring your mum on a nice little date.
This is especially nifty as you get exclusive discounts in the NT bookshop and café’s and access to workshops and tours galore.
You can sign up here.
RSC Key: Again, the student discount Gods shine down upon us. The RSC offer a service for young people to see their shows for £5 a pop! These are more limited than the NT service, but still a great thing to be a part of.. When you sign up they also send you a nice little pack with a loyalty card inside. If you see 5 shows in Stratford-upon-Avon (yes I know it’s not strictly London) then you get a free ticket for the 6th!
With shows in London (Impeium and Matilda being just a couple) and fantastic programming at the Barbican, the Key scheme is another great thing to have up your sleeve.
You can sign up here.
Cancellations: This one is for those with a bit more time on their hands sometimes. Outside the Globe, there’s usually a line of people sat with headphones in, coffees in hand, staring with hope at those who enter the box office. This is because they’re hoping you’re returning your ticket due to some unforeseen circumstance.
Most theatres have a few cancellations. Usually, if you give the box office a call, they’ll sell these onto you for a discounted rate. Failing that, some theatres have these queues of hopefuls who may or may not be turned away. It’s a long shot but it always feels great knowing you just nabbed somebody’s ticket for half of what they originally paid.
The Globe: Okay… not technically a way of getting cheap tickets, rather a place that does insanely cheap tickets for fantastic shows. £5 per show at this open-roofed theatre with one catch — you’ll be standing for the whole thing. This might sound like hell, what with the lack of lumbar support and the potential for next-day aches and pains but the seated tickets wouldn’t be much more.

And there’s just a few ways of getting some cheap tickets. I’ll surely be updating as time goes on, but these are my go-to’s for now.

Allelujah!

Allelujah is the latest play by Alan Bennett, writer of History Boys and Talking Heads among many other well known novels. It follows a choir on a geriatric ward in a soon-to-be-closed hospital. With sing-a-long moments, this state of the nation play will surely delight you.

Price I paid: £20
Where I got the tickets: Today Tix
Tickets range from: £15-£65
Theatre: Bridge Theatre
Dates: 11th July-29th September
Rating: ★★★★

Now, I will preface this by sharing a negative. During the interval my theatre friend heard a passing woman mutter with disdain ‘well, it’s a bit predictable‘ — that is part of Alan Bennett’s charm. He embraces the everyday, embraces the tropes and we ought to love him all the more for it as proven in this brilliant piece of theatre.

Bennett’s writing, teamed with the fantastic cast and the simplistic direction of Nicolas Hytner all comes together to hit out directly at various things going on in our nation today: immigrants being deported after spending years here forging a life, people being seen as being too ‘friendly’ when their acts are entirely innocent, the sometimes awful things happening behind hospital doors and how the Conservative government views non-private health centers and hospitals.

The cast sings songs throughout, both known and unknown depending on your age, which breaks up some of the more poignant moments of the play and brings light to the stage. Sung by the troupe with some charming choreography from Arlene Phillips, the music underpins he episodic moments of the play.

A wonderful piece featuring a variant of characters with some truly shining performances: Jeff Rawle taking the role of an ageing miner and Samuel Barnett as his Conservative son Colin who bicker in a way that is only endearing. Other memorable performances include Simon Williams as Ambrose – an ex-school master whose sharp attitude surely won my heart, Deborah Findlay playing the Sister who you come to love.. and then don’t and Sacha Dhawan as the gentle and loving (and aptly named) Doctor Valentine.

For further information and to book see the Bridge Theatre’s website or the TodayTix app.