Tag Archives: Nudity

Audio Review The Motherf***ker with the Hat at the Sherman Theatre by Roger Barrington

 out of 5 stars (3 / 5)

NB. This review contains strong language and adult themes within the context of the subject matter of this play.


The immediate problem I face with this review is how to name it.

Its correct title is The Motherfucker with the Hat, but in polite circles it is either called, “The MotherFxxxxr with the Hat or The Mother with the Hat. Being fairly polite myself, I shall refer to it as the MotherF with the Hat.

This play markes the first collaboration  between Glasgow’s Tron Theatre and Cardiff’s Sherman Theatre. Having seen Tron Theatre productions previously in Scotland and in London, I was aware that I was in for a challenging hard-hitting show, that is not so much “In Yer Face” theatre as slapping you around the face drama.

The MotherF with the Hat is a Tony Award nominated play by esteemed New Yorker Stephen Adly Guirgis. This playwright is often mentioned in the company of such American icons as David Mamet and Tracy Letts, so you know he is right up there with the American cream. That’s cream not Dream as there is little to associate the content of this play ith that national American ethos.

Written in 2011, the play premiered at Broadway’s Gerald Schoenfeld Theatre on April 11th of that year to mixed reviews. Much of the adverse criticism was aimed at the portrayal of Ralph D by Chris Rock as many critics were a little underwhelmed with his performance.

The play was a bit of a financial flop, largely due to the problem I highlighted at the start of this review. In the more Puritanical American world, it as difficult to market because you couldn’t even call the play by its name. A dig at American Puritanism is referenced in the script when a potential bout of bed-hopping leads to an exclamation from Jackie, putting a halt to Victoria, his sponsor’s wife’s advances, “I mean what are we – Europeans or some shit?” Made me feel quite proud (to be European).

MotherF with the Hat made its British premier at the Lyttleton Theatre on 10th June 2015, to almost universal praise.  This Tron/Sherman production marks its Scottish and Welsh debut.

The play is a five-hander and begins with Veronica tidying up her bed in preparation for a visit from boyfriend Jackie, who has just been released from prison and who is trying to start living a decent life, beginning with finding a job. Veronica is a cocaine-sniffing attractive girl nicely played by Welsh actress Alexandria Riley, who recently appeared in the acclaimed Sherman production of “The Cherry Orchard”. Her single room located in a residential hotel in Times Square is a bit of a mess. Empty bottles and full ashtrays and clothes scattered untidily on the floor.

When Jackie enters and they start conversing, it is obvious by the tone of the conversation  that they are going to get down to a bit of rumpy-pumpy.  Whilst Veronica prepares herself by taking a shower, (offstage), Jackie strips down to his briefs, ready for action and gets into bed. He then espies a man’s hat lying on the coffee table. Suspicions arise and Jackie wants to know who the motherfucker with the hat is. He sniffs the bed imitating an anteater hoovering up its prey trying to identify whether any sexual activity had recently occurred which he wouldn’t have been a part of.

Jackie played by Francois Pandolfo is probably the central character in the play  and he does well playing the paranoid Puerto Rican New Yorker.

Other characters are Jermaine Dominique as Ralph D., Jackie’s sponsor. I found his Machiavellian excuses for behaving badly very funny. His wife, Victoria, played by American actress Renee Williams has just had enough of her husband’s antics.  The final character Cousin Julio, (Kyle Lima), is a macho individual, being a kind of mix of a masseur and notary public. He also has connections to the Mob.

The acting is fine throughout with just a couple of lapses with the New York accent. For me however, the star quality of this production is Kenny Miller’s set design.

On three split levels, each representing a character’s abode, at the bottom you find Veronica’s hotel room in Times Square – probably a run-down establishment. The middle level represents Ralph D’s and Victoria’s Hell’s Kitchen place. An area of NYC largely associated ith actors and a has a prominent gay quarter. At the top, you have Cousin Julio’s minimalist Feng Shui abode in gentrified Washington Heights. This arrangement is no accident as it depicts an ascending order of prosperity.

The play depicts betrayal, guilt, infidelity and addiction but has an abundance of dark humour within it.

With so much going for it, why did I find myself constantly checking my watch for the final twenty minutes, with the production only lasting ninety minutes? Maybe it is because I found it rather one-paced – there isn’t much variety in it. The naturalistic dialogue is sparkling and has a cadence to it that almost makes it sound lyrical at times, but it overwhelmed me in its intensity.

Having taught for many years in China, I became aware that Chinese audiences always judge the merit of a movie based upon its resolution, and being Chinese, it should have a moralistic quality to it. I found the play rather slight, and I liken the spectacle to travelling up to London for a day’s sightseeing and spending all your time travelling around the circle line.

Can I recommend this play? Well, I guess it comes down to home being where you hang your hat, (sorry about that). If you are at home watching an amusing, profanity driven play which offers little hope but doesn’t make you think too hard, then you should love this play.

Due to profanity throughout, adult themes and brief male nudity, I suggest that this play is meant for adults only.

The show runs at the Sherman Cardiff, having already completed its Glasgow run, until 31st March 2018.


Francois Pandolfo as Jackie and Jermaine Dominique as Ralph D



Francois Pandolfo as Jackie and Renee illiams as Victoria




Tickets are available from Sherman Theatre


Roger Barrington

Review The Graduate, New Theatre, Cardiff by Jane Bissett

 out of 5 stars (4 / 5)

The stage production of The Graduate  is Terry Johnson’s adaptation of the 1967 screenplay for the film of the same name. The story of the Graduate was written by Charles Webb and was his first novel written at the age of 24. Whilst it is not considered directly autobiographical, Webb’s own life is very much reflected in what he wrote and he has drawn on his own experiences to portray the, what was then, young Benjamin Braddock.
The play, set at the time it was written, gives us an insight into the world of the 1960s up and coming affluent American families and their aspirations for their offspring.
In contrast Benjamin shows us a confused young man who having graduated is unclear of his route ahead. His parents want him to follow a career path that will lead him to a secure future both financially and socially, however, Benjamin does not view this life with such optimism.

On the day of his graduation party he is propositioned by a friend of his parents, Mrs Robinson, a woman clearly bored in an unfulfilled marriage that denied her of a career and life before her life as a mother and housewife began and has an unhealthy relationship with alcohol. Shocked and knowing the close relationship between his parents and the Robinson’s he rejects her. Curious, bored and wanting to experience life Benjamin later begins an illicit affair with Mrs Robinson that lasts the summer. However, he quickly realises that he wants more from life and from a relationship.
Behind the scenes Mr Robinson and Benjamin’s father have been matchmaking and have arranged for him to take the Robinson’s daughter, Elaine, on a date. Disinterested Benjamin takes her to a venue that he is certain she will not like and he isn’t disappointed. Benjamin and Elaine continue to date much to the disapproval of her mother, his former lover, and when Elaine finally returns to college Benjamin announces to his parents that Elaine Robinson is the woman he will marry.

Benjamin then pursues Elaine, declares his love, only to be brought home by his father after the discovery of his affair with Mrs Robinson. As far as his parents are concerned his issues stem from his childhood and as a family they go to see a therapist.
The discovery that Elaine is to marry spurs Benjamin into action and his timely arrival at the church stops the wedding…. does it have a happy ending? Only time will tell but Benjamin and Elaine do end the play by running away together.
In Webb’s life his college romance with Eve Rudd (aka Fred) faced disapproval from her parents and despite numerous barriers put before them it went on to be a lifelong relationship that endured the tests of time and that of family life as they had two sons.
This production was set at the time it was written and had a very retro feel to the set design and the way in which the scenes changed. There were some up-to-date touches with dream sequences being projected as a film in the background which I felt visually worked well.
Jack Monaghan’s portrayal of Benjamin Braddock was very reminiscent of that given by Dustin Hoffman in the 1967 film of The Graduate. His slow American accent accentuated the personality of Benjamin and indeed allowed us to consider his age and thought processing of the situations that he found himself in. Whilst in 2017 a young man of 21 is worldly wise we have to remember that this was certainly not the case in the families of the new up and coming affluent classes of American society of the 1960s.
From the moment Catherine McCormack (Mrs Robinson) sets foot on the stage we see a bored middle aged woman who is desperately trying to cling on to her youth. Her marriage is unfulfilling and she has taken refuge in alcohol a poor excuse, even then, for her behaviour. As the story unfolds we see a woman who has lost control of her family and resents her daughter for having all the advantages she did not but who does not have the personality and enthusiasm for life that she considers young women of the liberated 1960 should have.
All the cast members enhanced the main characters and gave credible performances in their own right. It was a thought provoking and enjoyable production and never before have I seen a bed with so much stage presence and a the ability to move seamlessly between scenes.
The Graduate needs to be viewed in context to its time and place in history. From conversations around me, many of the audience had seen the film and clearly were enjoying this performance, the only thing that was missing was a Greyhound Bus.
The Graduate plays at Cardiff’s New Theatre from;
Tuesday 20 June – Saturday 24 June at 7.30pm
On Wednesday, Thursday and Saturday there are performances at 2.30pm.
For further details about the show or to book tickets call the Box Office on 02920878889.