My lovely friend Luke Mepham of Macroverse Films first feature film is currently in production. I play a drama group participant in it: Tina Carpenter. She reads a lot, she’s a little irritating, she has a dominating mother and a daughter Rachel who has a top job in London and rarely has time for her mother. Rachel is always pleasant enough but pities Tina, considering her not worldly wise at all, which is true. Tina is used to apologising for herself, including for taking up space. She hopes the drama group will help with that. So far she’s just got scared of the exercises.
Of course all of that character prep is just in my little ole head, but it helps me to know her better, then I can portray her better!
Well the East holidays went by in the blink of an eye, although it didn’t feel like that when I was in the middle of them. There was time with the ever enchanting and wonderful Mia, but also broken down car, trying to squeeze in all the things I need to do to produce – and direct – my play, into all the moments (like the odd hour) when I wasn’t looking after Mia. And as ever, there was theatre, from the sublime to the ridiculous. Literally.
I saw the the Southwick Players production of the Beauty Queen of Leenane at Southwick, which was absolute class. Stunning production in every sense. I couldn’t stop thinking about it afterwards: the story, the performances, the reflections on life. I mean who doesn’t love Martin McDonagh of course, he has a unique style: immersing you in the story as if you’re engulfed in a wave. It’s like standing in front of a Rothko painting the way Rothko intended, so that all you see is the painting. Like jumping into their world. Which is full of obfuscations so that you are always surprised, on the roller coaster of the journey, taking each moment by moment of sometimes bliss, sometimes humour, and sometimes madness or sadness. Stunning.
Then I saw, two days ago, Murder on the Orient Express at the Theatre Royal. As a huge Agatha Christie fan I was predisposed to like it: it’s a classic, it’s Poirot, it’s fascinating. But I – and I lot of the public, I heard as I was leaving (I always like to listen to the audience, it helps my perspective, for example, what am I thinking of the play compared to everyone else) – were left with a “oh. That was pretty good. I mean yeh, the set! Wow! The set was fantastic! But the whole thing – yeh, it was OK.”
I don’t ever EVER want to be involved in a piece of theatre where the public leave and say “hmm. Yeh, that was OK.” It would stab me in the heart, as a director, producer, writer or actor. You want your audience to feel something, even if they don’t like it, that’s them feeling something. But a shoulder shrug and ambivalence? Oh no.
And of course the set was fantastic. But the set should hold the play, not BE the play. You shouldn’t have a segment where the train is just spinning on a revolve in the stage showing all sides of the train compartments and ooh! Look! He’s rolling up a window blind. So? Do you know how long the book is? You’ve adapted this play from a novel, you’ve already had to cut out truck loads which might affect people’s understanding and you’re just showing us the train? For ages?
I know other reviewers have loved it, and I know it’s easy to get caught up in the wonder of being shown something that despite being in the theatre all the time, you’ve never seen before, and it’s new and exciting. Of course it is. But that doesn’t mean it’s groundbreaking theatre. And when you get an actor sinking to a chair doing the worst sob noises I’ve ever heard as if they are in a movie melodrama from the 1920s or 30s, almost with a hand to the forehead and wistful gasp – not only one actor, but two – then I want to blow raspberries at the stage, despite some really fine performances from some of the other actors. It’s the widest spectrum of actor capability I’ve ever seen in one single professional production actually, from really amazing to really awful. It’s so sad, I really wanted to love it.
Here is us at the beginning of the show. You can tell it’s the beginning. We are smiling and hopeful. Sigh. I did love Poirot though – so lovely to see his work as I’ve been watching him in various things for years and years – including in one of my favourite all time films: Truly Madly Deeply. Poirot was impassioned and great.
But we’re all different though, right? And mine is just one opinion.
We won tickets to see Operation Mincemeat in London, through their weekly draw – it’s the most 5 star reviewed show in West End history, and I wanted to know why. Now I know why. Absolutely jaw-droppingly out loud guffaw yet poignant in moments fantastically brilliant. That’s the only review you need – just go. You’re welcome.
I reviewed a charming show at the Corn Exchange in Brighton: Kim’s Convenience, (I’ve linked my review in) and then on to Brighton & Hove Operatic Society’s quality production of Company the next night – and then last night, the mind blowingly fabulous five star worthy The Shark Is Brokenat the Theatre Royal in Brighton. I’ve wanted to see this since I first heard of it and I was super excited to see it last night. It’s on all week – if you love Jaws, go. I’ve linked my review – I can’t add any more except just go. You’re welcome.
Had a brilliant time at Gladrags looking for World War One soldier uniforms for my upcoming play “Duty” at the Fringe, plus clothing suitable for working on a farm. Gladrags is like Aladdin’s cave, a treasure trove, filled to the brim with all manner of clothing, sometimes overwhelming and some spaces you can hardly move in! Jordan Southwell, one of the actors, was amazing at finding suitable clothing and trying on different sizes and combinations.
It was something else to see him in a First World War uniform.
Even in socks.
Brilliant.
Tickets are going fast – don’t forget to book! Tickets are available on both Brighton Fringe and The Lantern Theatre so if it’s sold out on one, there might be tickets on the other.
Well actually it’s been a week: Kinky Boots the Musical on Tuesday at the Theatre Royal, which was great. I had not seen the show before. Obviously I’m a massive fan of the film, and it was fun to see the show.
Then, The Approach at New Venture Theatre on Saturday. Stunning piece of theatre, simply stunning!
So from dressing up in style and being tres sophisticated one night to being the woman on her own with a notepad the next: I love theatre so much I wouldn’t have it any other way.
I’m delighted to have been cast in Identity Theatre’s latest production: Oh! What A Lovely War. It’s a strong cast and I feel honoured to be part of it. Multi rolling, singing in a full on musical – fantastic. And the choreography, however simple it might be to otherwise non clumsy people, I’m finding that the most challenging as usual! It looks gorgeous when we get it all right. I’m looking forward to “Sister Susie’s Sewing Shirts for Soldiers” which is enormous fun!
So watch this space and don’t forget to book your tickets for June!
I am stoked to be bringing my new play to Brighton Fringe this May. Rehearsals are under way. It’s going to be brilliant. I’m positively fizzing with excitement.
A quick squizzoo to the Barn Theatre in Southwick to work alongside Martin Oakley designing lights for Wick Theatre’s Who’s Afraid of Virginia Woolf. I also supported Publicity Lead Emily Dennett with some publicity things (as she was also playing the lead in the play!) including press: it was good to be back writing copy for the Herald again! Article here.
I love my desk
Loads of tech difficulties with the lighting which would have tried the patience of a saint – and with one thing and another, after Martin had set the lights everywhere they should be and he and I had checked them all, I ended up designing the lighting states on my own – which was SUPER, I do love that. My favourite was the end scene, with a grey dawn breaking through the window. Photo below courtesy Miles Davies.
As the end of March creeps towards us I’m looking at almost two months of theatre since my last update. And one of those was just for pleasure: a trip to London to see Inside Number 9: Stage Fright. So great to see those two on stage again: they are brilliant. And there always at least one twist that you just don’t see coming – I don’t care what anyone says, there is no way to anticipate some of the things they come up with. A great night out. Thanks to my mum for the Christmas present.
Among the many theatre critic visits are: Charlie and the Chocolate Factory, Peter James’ Picture You Dead, a play about menopause called Mid Life, and a totally sublime Macbeth from the unique This is my Theatre which was at my top spot for March for a couple of days until The Lion, the Witch and the Wardrobe completely blew me away. It was magical, phenomenal and breath-taking. I would have gone again every night that week if I could have. This was one of those moments where hubby Andy was very happy that I brought him along – he does not enjoy everything I take him to!
I’ve also been completely flattened by the illness. Not anything huge and serious but just enough to stop me in my tracks and stop me from doing all the things I want – and need – to do. It’s hugely frustrating and annoying. A bit like trying to climb a really long hill on a really rubbish old bicycle which doesn’t seem that steep, but after you’ve been doing it a few days, it makes you feel like crap and gasp for air. I still don’t have my voice back properly although I’ve gone from Barry White to Demi Moore (via a stereotype adolescent boy with his voice breaking) – all of which are an improvement – I think..? Blasted chest infection. I know it’s a chest infection and not just a cough, because of the rattle and crackle when I breathe in. I feel so exhausted all the time because of not getting to breathe deep enough. Hurry up and go already! I have a full week of stuff I need to do!!!
I was curious, so I looked back at 2024, looking at all the theatre I’ve seen, and all the theatre I’ve reviewed. I saw 76 different productions, most of which I’ve reviewed, and using the average word count of reviews means I’ve written approximately 56,000 words. Which is almost the size of a novel.
I love that I’ve written theatre reviews the size of a novel, but I do wish I’d actually written a novel – as well as all the theatre reviews. So just a mere doubling. I don’t want much.
So far this year I’ve seen a good few productions already and most I’ve reviewed, but Andy and I went to see Elektra at Brighton Theatre Royal in January (no reviewers allowed) and came out asking each other what we’d just watched – it’s not a good sign when the audience have finished clapping and are getting up to leave before the actors leave the stage. The thing is, you have to be someone really rather exceptional to modernise a classic Greek tragedy. This however was as if a pile of creatives had an ideas meeting while drinking heavily, and decided to use every single idea they came up with. Let’s have a rolled up carpet on the stage! Let’s completely cover the actors with smoke while they are having a really interesting emotional discussion! Let’s put a blimp on stage that just hangs there for the whole show! Let’s give the lead a microphone and mixing pedal and tell her to emphasise the word “no” every time she says it, and also get her to spray paint the set while she’s talking!
How about, let’s not.
The thing is, when they announced Brie Larson as the lead I was intrigued to see what she would do with such an iconic role. When they announced Stockard Channing as well, I got straight on line to book tickets. The chance to see Stockard Channing and Brie Larson on stage? I don’t mind if they recite a shopping list. And to be honest they may as well have been reciting shopping lists. In fact I think I would have preferred it. I felt so sorry for all the actors – it wasn’t their fault. They must know they are in an absolute turkey. It’s unforgivable to cast such wonderful actors and then direct them so badly. But at least I got to see them on stage – and their stage presence is something else, even though they seemed dimmed being aware of what they were in.
Our smiles quickly faded
On the other hand I ran the lights and sound – basically DSM type role – at Brighton Little Theatre for this double bill, and I loved every second watching both shows. After the initial panic and baptism by fire. And various issues. But the shows was what was important – and they were incredible.
The humour in “The Voyage of the Carcass” was exactly my type of humour which doesn’t happen often, as sometimes I like situational, sometimes I like really stupid stuff and sometimes I like really really dark humour, and this was very dark indeed. I was chuckling away in the lighting box at my favourite line in each of the performances – it was never not funny. And I always, always like clever. Clever humour is one of my favourite things. And this had layer upon layer of depth in it that I think some people missed if they just saw the absurd. Which is a shame, because the play had so much to say about isolation, about how we each live in our imaginary little worlds regardless of who is around us (or not). I really truly loved it. An abstract story in a set that looked literal.
Bobby and Amy was a completely different type of play – more of a theatre goer’s type of play in that all the locations were stylised, leaving you to imagine and fill in the gaps. But what stood out about this play was the acting, it’s just two actors, but they play all the different roles in the play (and it’s designed that way). They fill the stage with the whole town of people, so even though a two hander, you could never call it a duologue. Everything was done by movement, by changing their physicality for the different characters which was beautifully done. A stunning achievement. A literal story told in an abstract way.
And then a couple of days ago I was back at the Theatre Royal to review Birdsong. Which I was really looking forward to. And for the first hour I was so disappointed. The second act is sublime – if you get a ticket, feel free to go for a coffee or a meal for the first hour, then watch the next two acts. They are really interesting. Although don’t sit too close to the stage if you are sensitive to cigarette smoke. There is a LOT of it.
On a personal note, there’s lots more going under the water line: like people describe swans with frantic paddling underneath the water while they glide on the surface – but I don’t feel much like a swan, I feel like some sort of cross bred duck whose feathers are all over the place. Things like being ill and taking ages to recover. Things like ongoing issues with dealing with health and council “professionals” over my daughter’s care, from one numpty to the next, from incompetence to slap-dashery, from mistakes to failing in a statutory duty of care and nobody being able to do a dam thing about it. All these things drain me more than attending 3 different rehearsals a week for 3 different productions would. Funny that.
Still, I’m performing on Sunday in The Wedding Party in Eastleigh, that will be enormous fun – if only I can fit into the dress, and at this point I’m seriously doubting it…
