(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.

(4 / 5)

A mixture of traditional music, mixed with techno, easy but interesting staging and serious topics meeting comedy, Rare Mettle Earth was not what I was expecting.

Set in South America, we see the conflict of Western countries pressurizing the indigenous people to succumb to their needs. The salt of this little area contains lithium which could either help fuel energy saving cars or help the mental health of people during the beginnings of the Covid Pandemic. Both sound, on paper, as very useful and morally sound things to strive for, but those behind the initiatives are not quite so angelic. In comes power play; from both the Western societies and Indigenous societies, of the pressure on the poor and the stereotyping of poorer people being for some reason unintelligent.

I did not know what I was expecting. I do not read about shows beforehand, with concern that it might influence my opinion or give me unconscious bias before even seeing the show. And so a really great part of this play is that it strips away layer after layer, bit by bit, adding to the story, making the plot thicker and mixed with moral dilemmas.

As always, the Royal Court’s design is perfection. Simple, yet effective, the transition between places such as America or the UK to the South American countryside is done minimally but it works. White, blank, modern space is created for the former, with something more earthy and natural for the South American town. You can certainly feel the different in spaces.

Majority of the performers double up characters. I heard a person in the audience say this was confusing. That a differentiation wasn’t bold enough to tell. But I highly disagree. The changes in their appearances while, yes, subtle, the performers themselves were able to perform very different characters and I found it very easy to tell. To me, there were more characters on stage and at no point did I come out of that theatrical reality.

The story is, to some degree, a tough one. There is a sense of being, of place, of something that reminds me a lot of conversations that are current and been going on for years in places such as Aboriginal cultures where the impact of the Western societies have pushed aside the true beings of the land. Often, just for monetary reasons. One story thrown in is that the lithium is helpful to others, that it could be a mega discovery in our fight on Mental Health. The other, to save the planet in the long run, with affordable cars. But both of these people are deeply selfish and deeply flawed. It puts you in a conundrum and makes you think truly about your own morals and opinions on the state of our world.

Rare Earth Mettle is a surprisingly thought provoking and intriguing production. It touches upon centuries, of years of white washed culture and in the deep selfishness of those who seemingly are trying to save us and our planet.

(5 / 5)

Firstly, a comment on this new theatre. Based around the bottom of Battersea Power Station, I was really impressed to see this new theatre, with its new and inventive décor and friendly staff doing so well and with such a brilliant and versatile space. It was perfect for the show I was about to review.

Boy Out The City is a quirky, comical, heart wrenching and heart warming one man, autobiographical story. Written and performed by Declan Bennett, it is the first show I have seen that is based upon the pandemic. I thought there would be more but maybe they are still in the making. I mention this, as I hope this review highlights that this was the perfect show to return to normality with and really picks up on what most of us felt during the last year. Bennett talks about how he and his partner moved from London to the countryside. With his partner also an actor, he gets invited to a job in the States, while Bennett is left alone in his cottage in the middle of nowhere. Bennett talks about mental health, about the bad habits we all adopted to cope, about loneliness, about sexuality but also about nostalgia and how it makes us who we are.

Bennett’s show is absolutely hilarious. Perfect in execution, not a single falter, high energized and full of information, at times it feels very much like sitting with a friend and talking. He is personable, he is down to earth, and this all helps with telling his story.

While he is funny and picks upon things that were huge parts of the pandemic for many (drinking wine at 2am, sleeping till late, being lonely, nothing to do) he also effortlessly moves this into very serious questions and issues in society such an men’s mental health, of sexuality and growing up denying being gay to fit in and avoid violence. These moments, I wouldn’t say, came out the blue, but when they are slotted in, your smile from the hilarity before has gone, and your heart aches for what he has been through.

He isn’t afraid to touch upon, and negatively, about his past and what he thought at the time. Of the mistakes he made just to fit in and be safe. A story that i’m sure many in this community can associate to. In fact, those who also are not but can identify the things they did, growing up, just to feel a part of the world.

We talk about the Pandemic as being different for everyone. Yes, we went through the same rules and regulations, and while mental health issues went through the roof, as individuals, we all coped differently. Bennett is clever and picks up on the ones that he did that we can relate to, and therefore a good chunk of his comedy is laughing at the relatable nature and all we saw and heard during the last year.

He uses the stage well – different points highlight the different parts of his story, from the cottage, to his neighbour, to the bar on St Patrick’s Day, even to his past. Minimal set and props are used but they are effective. Nothing is there just for the sake of it. And I loved this. All too easy do theatre makers find props and set upon props and set to fill a room, when it isn’t needed. I also notice that one person productions also do this, to slightly shy away from their performance. Bennett was loud, he was present, he filled the stage. And that’s one of the many parts that made it perfect. As someone writing their own one woman play, it gave me much food for thought.

Boy Out The City is a cultural revelation after a tough time in the World. It is raw, it is emotional, it is absolutely hilarious and it is essential.

Please do look out for this production which aims to have future life across the country.

(5 / 5)

Do you want to know a secret? Well.. it’s not much of a secret I suppose. But one of my guilty pleasures is Rom-Com books and occasionally Rom-Com films.

I love how they can feel realistic but also completely not. They are set mostly in the lives of (albeit theatrical) “real” people and while they make me sad that my life isn’t a Rom-Com, i’ve got to say, I enjoy it.

Thinking back – I don’t think I’ve ever really seen a Rom-Com on stage before. Yes, there have been romances but nothing so quintessentially British. So, Love Dance, was the perfect show to break into this performance genre.

Love Dance features a typical meet-cute story. A Doctor, leases her flat out to a tenant during her time away from work. Only to come home and find that he is still there, stubbornly refuses, as they disagree on the Month to Date format on the contract. After a period of time, they grow closer and closer, talking about marriage and children and how the Doctor wishes to have a child but not a relationship. Their love grows and the rest is history.

Derek Murphy and Jacoba Williams have the perfect chemistry. It genuinely feels as if the wall of the flat has been taken away and we are peaking into real life. They bounce of one another effortlessly and somehow, they have that gives-you-butterflies feeling when they look at each other.

They exhibit the typical characters you see in a Rom-Com – Murphy plays the funny, teasing but ultimately mysterious Musician and Williams is a strong, independent but bossy Doctor with her whole life ahead of her – she’s put aside her dating life and want for a baby for her career. As typical of a Rom-Com – you think these characters are just so different, but as you peel away the layers, you discover more and more, and actually how perfect they are. And we of course have events that you cannot imagine ever happening in real life, but what makes such a story unique to all the others.

We laugh, we feel sad, we feel happy – all the emotional ups and downs of this genre. And it was complete perfection on its execution – no errors, no awkwardness, just flawless.

My ONLY quibble is that there is a point when Murphy’s character has this bad cough – we see Williams’s character check him out and her face shows her concern. As the play continues, there is mention to it but we never really understand or hear the conclusion, of why it is cured and it felt a little bit of an idea that was added and never came to fruition. It didn’t take anything away from the story, but nor did it add anything.

Love Dance warms your heart. It makes you feel those romantic butterflies. And sometimes makes you feel sad about your own love life. The perfect Rom-Com on stage.

(4 / 5)

Not many productions, books, shows, advice columns talk openly and frankly about sex, love and what it is like for different women.

Friday Night Love Poem is a coming of age story about three different women: a group of women in America, all part of a Christian support group, a Canadian teenager in the early noughties and a British teenager in current times. We see the juxtaposition of not only how sex and love has change through ages, but also what it is like in different communities and also different ages.

The first third of the Production is interesting and does well to steer away from the quintessential and stereotypical Bible bashing American evangelists. There are elements of their extremism but it isn’t what we see often portrayed. It isn’t satirical and therefore makes it more real. There is a sense of recognition; we can relate to elements but some we cannot, as per part of this community. Sex before marriage and LGBTQ+ are questioned and the woman, who is experiencing this confusing time, is conflicting by two parts of this community – the liberal and the stubborn and traditional. The only issue being that they are cycling through a time period of meetings. At first this isn’t clear that their movements to a different position of the stage is the signal for a scene change, and until we get the hang of this, it convolutes the storyline somewhat. When we change to a completely different story, there is music and lighting change, and this works well. Even if it was a change of lights or a change of outfit item, a prop, then it may have been a little clearer.

Our second coming of age story is something recognisable from my own teenage years. The rebellion, the rock music, the interest of older boys, of sex. We go through the moments losing her virginity and realising later that the one you lose your virginity to is not always the love of you life. A huge difference mirroring earlier discussion of sex after marriage. To avoid the x-rated, we are shown her experience through the use of Barbie and Ken. And somehow this is a really interesting and a subtle way to show it but also highlights the youngness of the character, that the idea of sex is in minds of those much younger than we think, and the unmentioned events and non events of sex. The unspoken. In fact, this, in addition to factual sex ed, would be honest and helpful to anyone.

Our last story is more up to date. This is more poetic and fast paced, and is somehow beautiful in this aspect. The elements of porn pressure, of the pressure on young girls and lack of respect of boys, the consequences of this and more. It is heartbreaking but also realistic, shown in a very theatrical way. The poetic monologue expressing her thoughts and feelings, clearly taken from media and what she thinks she should be and do. And then the issue of revenge porn. Something so grotesque is eloquently expressed.

Friday Night Love Poem is a raw and unbridled look at what sex and love means for all kinds of women; ignoring any boundary, ignoring any stigma and in this way, becoming an important piece of theatre on consent and the unspoken realities of women and sex.

Friday Night Love Poem will be on stage at The Space January 18th – 22nd 2022.