(4 / 5)

In a little black box in Wimbledon, we encounter the coming of age LGBTQAI+ tale in 80’s America. Next door is a LGBTQAI+ club which I have been to before, and so having this show next door seems hugely apt and hopefully, educational to young people of the community who may walk past and be intrigued by the stand out poster.

The Night Larry Kramer Kissed me, written by David Drake, is a critically acclaimed off-broadway show. Based in 80’s America, we travel through one man’s self discovery in the gay community, awoken by Larry Kramer’s The Normal Heart, showing how Theatre can awaken someone’s passion but also make them question their very existence. John Bell’s (star of Outlander) character uncovers what many men of the LGBTQAI+ community discovered during that time – the impact of the AIDS/HIV pandemic and the fears, concerns, and lack of education around it during this time. It looks at his own discovery of the community and his sexuality, yet also on protesting, speaking out, love and loss.

Bell is in general just perfection. Each word, syllable and speech is perfect, diction and projection on point, and every part of the story he tells feels like it could be autobiographical. He addresses each of us in the room, not afraid to make eye contact, and with such a small theatre, this is important, making us feel included in his story; as if he is just recounting it for the first time with all its elements and emotions. Finding out that Bell is only 24 years old shocked me. I know him well from the show Outlander, where we practically see him grow up as it is, but the maturity and the earnest nature he brings to the character made him seem way beyond his years. While I was also not yet born during this time in history, Bell being much younger than me also shows how in depth he has clearly looked into the history and the impact it had on people of that time. He is genuinely heartbroken; genuinely enjoying life as he discovers who he is; and every aspect of him is fabulous and in keeping of the culture both of then and now. He also flips through ages – a time when he is just a little boy is mixed in with his first kiss as a teenager to finishing as a young-middle aged man. And each mark of his life is clear. A brilliant feat in itself for a performer.

The set was minimal but effective – big crossed metal pipes, stretching diagonally to the sides of the stage, later lit up, make us feel like we are in a city, with its harsh architecture. This is softened by many candles later, electronic, but effectively made to look as if they are really flicking. Subtly put in nooks and crannies are the historical coloured handkerchiefs, symbolising gay men’s position when it comes to interaction with each other, sex and love. A brilliant moment is when Bell is singing/rapping to a song as he discovers different men in a club, pulling out the handkerchief’s and describing each of them, climaxing to an outburst of fear at those who are HIV positive is poignant, fun and eventually heartbreaking. We hear much of the support given in the community and protest at the time, but little of how some turned their back at some point through fear and lack of education.

In a time where we are all fearful of a virus we at the start knew little about, there is some element of reflection on how the community must have felt at the time. However, an element of fun in put into this production, with scenes in clubs and gyms and meeting different people, lovers and how sometimes it culminated in the death of a person puts this on another level. To live life, only to die of it in the end.

Finally, a comment on the costuming – on point for the era, Bell evokes images of Freddie Mercury and the leather fashions of the community and of the 80’s. Eventually, with tee shirts of the AIDS/HIV support networks and protests at the end, this and the telling of this tale is a blast into the history of such a big part of this community and of history in general, something that even today still feels swept under the carpet.

The Night Larry Kramer Kissed me is such an important production to see, not only to learn a impactful part of history but also of a community that, in the 21st century is still facing hardships and censoring. Bell only makes this so much more poignant with his natural and excellent performance.

(5 / 5)

Ireland is a place I feel a lot of pride, despite having no blood connection. It was thought we have Irish in my family and so, like anyone, I took that and ran with it whenever Ireland was brought up. Sadly, recent discoveries say otherwise. However, some of my best friends are Irish and since the day I met them, I’ve enjoyed learning about the culture, mannerisms, phrases and the socio and political state of Ireland through history.

It’s quite well known that there is a huge aspect on religion in Ireland. With this, as soon as Catholism is mentioned, you think “Oh here we go. Another Irish play talking about growing up Catholic”, by Purple Snowflakes and Titty Wanks is fresh, and new in its approach and is unlike any play, Irish or not, that I’ve ever seen.

Purple Snowflakes… is a one woman show about coming of age in relatively modern Dublin. It sees the character of Saoirse finding her way through life; her family, her sexuality, religious repression and eating disorders. She fights through life, retelling her story to her friend who is only a memory now. It picks on loss and love, and growth from child to fully fledged adult, and what is important throughout each stage.

Sounds a barrel of laughs right? Well.. actually it very much is. There’s an element of very unique comedy, relating mostly to the Irish culture. The Irish are some very clever and comedic people, using their repression and perhaps sheltered upbringings to be darkly funny. This is no exception for this story – it’s honestly hilarious but when you get too comfortable with this, you get a punch of the serious into your stomach. The highs are perfectly punctuated by the lows; this is what makes this play so brilliant.

It also educates – how would someone growing up, trying to discover who they are, really do this when there is little to no information, no openness and certainly no help with figuring out sexuality, gender or mental health. Perhaps this isn’t the same all over Dublin or Ireland, but certainly it feels like a tale often told and Hanly picks this apart – she encourages and supports feminist morals, of LGBTQIA+ ideals, of being who you are and unapologetic. She makes a statement; not only of the state of lack of education on these elements but also about sticking two fingers up to it and saying I am who I am.

Sarah Hanly, writer and performer, is excellent. She is energetic, bounding around the stage with a vigor we can only imagine having. You feel as if she is growing up on the stage in front of you, not just in her story. By using lights, a small amount of staging and props, the scene is changed quickly and effectively. A very small stage, it somehow expands and with the help of the narrative, you can easily imagine the different places that the character is existing in.

We feel like we are her friend – she speaks to her friend as if she is right in front of her, and we fill that void. She addresses us, often with “do you remember that?” and, while we clearly don’t, she convinces us that we do. And we are there, with her and no one else, not even the other audience members.

I loved every minute of Purple Snowflakes. Your emotions are constantly on edge and this makes it exciting, makes your heart break, makes your sides split, and you cannot tell what happens next. Purple Snowflakes needs to be your next show to watch.

(4 / 5)

This isn’t my first Panto of the year, but I could happily see Panto after Panto all year long. And so my invite to The Queen of Hearts at Greenwich Theatre reverted me to my childhood of Panto tradition around Christmas.

We are all used to a Panto being based on some famous tale: Aladdin, Cinderella, Snow White e.t.c. so I was massively intrigued by a Panto with a title and potentially a premise that I didn’t know about. Of course all the same elements were there; the audience interaction, “HE’S BEHIND YOU!”, the call and response of the tragic yet loveable sidekick, the moment where audience birthday’s are called out and of course, the pantomime Dame and her ever more extreme costumes and lust for… well… men.

However, The Queen of Hearts is to some degree a new story. Following most of the basic pattern, we see a love story between a Prince and a Princess; Jack the side kicked is over looked; The Dame has been widowed and on the search for her next man, yet is the mother to all and finally, the bad guy is only out to destroy the kingdom and support his own cause. But it isn’t as straight forward, when the twists and turns that usually we would see coming as we know the initial story (think of Aladdin will at some point rub the lamp; Cinderella will run away from the ball). It is new. It is shiny. It is fun.

Not a lot of Pantos have live music either. Usually it’s a recording or if they are lucky to, they are in the orchestra pit. But, much thanks to the Theatre’s architecture, some to just sheer genius, the small band featured on stage and they were every bit part of the production. From the piano player breaking out of his pit to come and act, to the guitarist laughing at every joke, corpse moment and funny improv, them and along with the other performers who clearly loved every moment on stage and had liberty to change slightly and corpse, showing that they loved it as much as the audience.

My only grumble was the absence of two distinctive Panto parts – the throwing of sweets (ok, Covid!) and the song and dance when they are randomly in the woods and sing a song to keep the Ghosts away; slowly being picked off one by one. Sadly, I waited for this bit and it never came. I love the ridiculousness of it and how it never fits in with the story and it was just a shame that it wasn’t in this particular production.

The Queen of Hearts is a fresh and exciting take on the traditional Christmas staple. It keeps to all the things we expect but adds something new and refreshing to the age old tradition.

(4 / 5)

Hands up who grew up with Stockard Channing on your screens as Rizzo in Grease? I think anyone alive today remembers this stunning and fabulous woman, gracing our screens wherever we turn. And i’m sure she is sick of us pointing her out for this and only this.

This is where, Stockard Channing, shows that she is not just Rizzo.

Night, Mother, by Marsha Norman is set in a little farm house in the USA. A unusual evening, a mother and daughter spend time together, chewing the fat, but when Jesse, the daughter (Rebecca Night) drops a big bombshell, this chewing the fat turns into a conversation of love, loss, mental health, pain and ultimately a Mother’s love for her daughter.

Firstly, this naturalistic play is utterly captivating. It is simple and yet extremely effective. I felt intrusive, breaking the fourth wall, yet I could have sat and listened to this duo talk to one another for hours. Channing and Night has instant chemistry, that it is actually really hard to believe they are not this Mother and Daughter pair. They somehow show true family love and a bond which lights up the stage and makes your heart ache and miss your own mother.

Night is everything that her character needs to be – traumatic, struggling, proactive and organised. She looks after her mother and organises her life, and as the story unfolds she naturally does things that anyone would in this situation; as she is talking about the most traumatic things, she folds laundry, she puts things away – she is very matter of fact, and that makes the story and her character all the more unnerving.

Channing is the doting mother – she will do anything for her daughter. But she is funny. She’s the mother we all have, who will bend over backwards but can be sarcastic and ridiculous and your heart just warms, but also breaks for her.

The story is inevitable. The premise is set out in front of us and so when the end comes, while we know it is coming, there’s always hope it doesn’t. We hope there is a change. Doesn’t stop it being a surprise when it doesn’t. And we break, along with Channing at this point.

My only criticism is that I would have loved both actors to annunciate more. Such quiet voices for such a big stage. But yet, in a way, completely naturalistic.

Night, Mother is a hard watch. It touches upon difficult topics but at the same time, you are entirely invested in it. It is absolutely heart breaking and Channing and Night’s relationship doesn’t help this emotional reckoning, with how perfect and naturalistic it is.