Derren Brown: Only Human - Review

Apollo Theatre, London

***

Directed by Andrew O'Connor

Derren Brown

Towards the end of his press night performance, Derren Brown asked for the critics in the house to refrain from revealing what’s in the show. A not unreasonable request as no one likes spoilers and equally, a request that could make for this website’s shortest review ever….

To be clear, Derren Brown is a gifted entertainer. He may well have a robust understanding of psychology and the human condition but he is also, unquestionably, a sublimely talented illusionist. That being said Only Human, his solo show at the Apollo, and which at times requires a fair amount of audience movement, does not easily translate into the theatre's awkwardly Edwardian confines. Brown's various routines follow a consistent theme of appearing to predict the future. All well and good, but a bit of variety would not have gone amiss and at close to 3 hours, what would have ideally filled a one-hour TV Special, tends to drag.

The acts are also too low-tech. Punters splashing out more than a £100 for a ticket are entitled to see more than just some Polaroid photos, a few bits of paper and a family-sized packet of Smarties being used as props. While Brown may briefly use an onstage electric gizmo (that looks as though its been lifted from the first series of Dr Who) for one of his stunts, in all honesty there is not enough breathtaking trickery in the evening to win over more hardened cynics. Live projections attempt to enhance the evening’s visuals which in theory should be helpful, especially for those sat in the cheap seats. But for a 2026 West End show where the AV equipment deployed should be cutting edge, the televised images lack clarity and brilliance.

Ultimately this is little more than music-hall entertainment for the 21st century, where much like the real-life P.T.Barnum or L. Frank Baum’s fictional Wizard of Oz, Derren Brown is selling illusion and flim-flam. If one believes Brown's bona fide baloney then the evening will indeed be truly magical. Only Human ? Brown had (some of us) on our knees looking for the answer.

Runs until 30th January 2027

Photo credit: Pamela Raith

Punch - Review

 Apollo Theatre, London

****

Written by James Graham

Directed by Adam Penford

David Shields

First seen at the Nottingham Playhouse last year and followed by a brief run at the Young Vic, Punch arrives in the West End, examining the story of Jacob Dunne, a man who was to kill James Hodgkinson with one punch in an assault that had no murderous intent. Subsequently convicted and jailed for manslaughter, Jacob was to go on and forge a remarkably compassionate connection with James’s parents Joan and David through the little-used channel of restorative justice. James Graham has taken this real-life episode of some of the highest manifestations of the human condition and woven it into a punchy 2 1/2 hour narrative.

The play’s original cast have been maintained in a superb display of ensemble acting. Leading the show is David Shields as Jacob, onstage almost throughout the play and delivering a towering performance of Jacob’s journey. The five other members of the company assume multiple roles throughout, with standout work coming from Julie Hesmondhalgh and Tony Hirst as Joan and David. Hesmondhalgh in particular offering a masterclass in the controlled rage of grief.

The evening however is an occasion of two halves, with act one a relentlessly staccato burst of expositional scenes describing Jacob, Joan and David’s lives in the build-up to the punch and in the aftermath of the fatal blow. It is not until after the interval that the writing starts to soar in his portrayal of the dynamic between Jacob and Joan & David. In the penultimate scenes the detailed dramatic tension between the three is sensational.

Anna Fleischle's stark brutalist set is immaculately lit by Robbie Butler, contributing to a production of immensely moving theatre.

Runs until 29th November

Photo credit: Marc Brenner

The Go Between - Review

Apollo Theatre, London


***

Music & lyrics by  Richard Taylor
Book & lyrics David Wood 
Based on the novel by L.P. Hartley 
Directed by Roger Haines

Michael Crawford, Gemma Sutton and William Thompson

One can wait for ages for new musical theatre writing to get a commercial outing and then, much like buses,  two come at once. So it is for composer Richard Taylor who is enjoying a remarkable spring with The Go Between, a collaboration with David Woods, opening at the Apollo as his other new show Flowers For Mrs Harris ends its short run in Sheffield. 

L P Hartley’s novel, first published in 1953, became a modern English classic. Leo Colston, now in his twilight years looks back on a summer at the turn of the century when he found himself the young messenger boy between Marian and Ted, two young adult lovers whose illicit and ultimately doomed relationship straddled England’s ruthlessly upheld class divide. While Joseph Losey’s 1971 film of the story achieved recognition at both the Oscars and Cannes, this marks the first time that the tale has been worked into a musical – and a nod to the innovative Perfect Pitch production house for having seen the show through its development. 

Where Taylor’s recent Sheffield outing flooded the stage with talent, albeit with no big star on board, the casting feature of The Go Between is of course England’s grand-daddy of musical theatre and the creator of Lloyd-Webber's Phantom Of The Opera, Michael Crawford. No celebrity “stunt casting” here, the quality of Crawford's performance brings real smiles. One would be pushed to find a better man for a role that requires not only emotional but vocal versatility and while this national treasure may not be hitting Phantom-like notes, his performance is still certainly on the money.

The piece excels musically but the plot is slow. One can't help but feel that Act One takes a huge amount of time simply setting up their events that follow in the second half. And while the nostalgia is endearing and played beautifully between Crawford and his younger Leo played by William Thompson, the narrative can drag. 

Gemma Sutton and Stuart Wards are the tragically destined lovers. Sutton remains one of the finest performers of her generation, bringing a deviously contagious charm to Marian. Likewise, Ward’s Ted is an equally strong, passionate performance. Both Thompson and the other young lad on the night Archie Stevens are extremely talented, the latter’s comic timing and cheeky smile bringing a grin to every audience member. 

The brave decision to have the onstage band consisting of nothing more than a sole grand piano works well, complementing the era with fine work from musical director Nigel Lilley. A neat design touch is an attic like storage box from which both Leos change costume throughout, giving the clothes changes a similar feel to a child's dressing up box. 

If The Go Between lacks punch, it's undoubtedly sound stylistically and offers the chance to see an incredibly strong cast deliver innovative new writing.

Runs until 15th October

Photo credit: Johan Persson

My Night with Reg - Review

Apollo Theatre, London

****

Written by Kevin Elyot

Directed by Robert Hastie

Geoffrey Streatfeild, Jonathan Broadbent and Julian Ovenden

On paper, My Night with Reg could be a searingly witty sitcom written around six unorthodox characters, each with their own hilarious intricacies and tragic plights. However, the death of writer Kevin Elyot in 2014 sees the play’s more macabre and somber notes raise the inflexion, making this production more melancholic and disconcerting than just a classy revival of a now certified ‘classic’, modern, British comedy.

Not just an original gay play, Elyot lays bare (quite literally) the social and sexual manners of the titular Reg, who never appears on stage, though his seed, it seems, has been sewn just about everywhere else. Elyot’s gratifyingly outrageous and authentic dialogue is ignited brilliantly by Jonathan Broadbent who reprises his Guy, the probably-passed-it central figure, whose circle of old university friends come over for a dinner party.

Robert Hastie’s direction is delicate and nuanced from the offset. Not a glance or a line is missed as we are introduced to Geoffrey Streatfield’s dandy Daniel, the camp and frivolous dancer to David Bowie’s Starman with his long-time sidekick pal John, played charmingly by Julian Ovenden. 

Newly in love Daniel is a bounding energy, which makes his demise to a mourning mess all the more poignant. The plot then begins to trace the long line of his beloved’s bed notches, which becomes a standing joke as an ever-entangled web of deceit and betrayal is found to be woven throughout the friendship group. 

Meanwhile, Guy’s unrequited love for the coiffured-in-the-style-of-Hugh-Grant John is the most profound theme (alongside the infidelity) and is best exploited through Richard Cant and Matt Bardock, the brilliantly mis-matched hopeless lovers Bernie and Benny. This bold bittersweet comedy duo of the expletive loving brazen Benny who is more akin to a Jason Statham stereotype than the lover of conservatory-coveting Bernie, in turn described as “redefining boredom”. But one can’t help feeling for the softly-spoken Bernie as he dotes after the gregarious Benny and doubts the strength of his own relationship, before both confess to having bedded the apparently insatiable Reg. 

As we move into the darker territory of the third and final section of the play, this lack of forethought and arbitrary irresponsibility threatens to take down of each them and following a key character’s death, Hastie’s direction, like the sex, takes on a casualness, with the play’s pace suffering as it lulls sulkily towards the curtain.

Arguably, the reason Elyot’s play continues to draw audiences is that the issues remain as pertinent now as they did in the 1980’s. Disputes regarding promiscuity, sexual politics and AIDS remain equally unresolved and enduring.

Runs until 11th April 2015

Guest reviewer Lauren Gauge

Urinetown - Review

Apollo Theatre, London

*****

Music & lyrics by Mark Hollmann

Book & lyrics by Greg Kotis

Directed by Jamie Lloyd

Jonathan Slinger

After a successful three year run on Broadway a decade ago and a recent stint at London’s St James’ Theatre, Urinetown finally makes it to the West End. Set in a dystopian, drought-ridden future where corporations control the only toilets and the down at heel population must pay for the ‘privilege to pee’, Urinetown’s producers must be wondering what will put audiences off first – its title or its subject matter. It would be a great shame if either did because this is a seriously funny, subversively witty show. (And actually, Greg Kotis’ knowing script gets that joke in long before any reviewer has thought of it. Breaking the fourth wall at will, Jonathan Slinger’s deliciously degenerate narrator, Police Officer Lockstock, tells us that nothing kills a show like ‘too much exposition’. ‘How about a terrible title?’ asks local urchin Little Sally).

Weaving the broadest slapstick humour into a grim, highly relevant and perhaps portentous Malthusian tale, Urinetown is a musical that never stops poking fun at its own genre and unlike so many of that ilk, resists the temptation to eventually embrace its clichés in the final act. Driving it all along is Mark Hollmann’s excellent score – ranging from gospel pastiche, to rousing ‘Les Mis’ chorus – and witty lyrics. Some of the songs may be a little forgettable, but they’re still perfectly pitched within the show.

Jamie Lloyd’s direction, aided by Soutra Gilmour’s wonderfully dingy design, is razor sharp and Ann Yee’s choreography is at times a comic masterclass all of its own. Musical director Alan Williams delivers not just an excellent band, but also, in the big second act showstopper ‘Run, Freedom, Run’, quite simply some of the tightest and most polished chorus singing to be found on a West End stage.

The cast is of the very highest quality – Jenna Russell is predictably wonderful as the fearsome gatekeeper of the urinal Miss Pennywise, while Slinger's Lockstock relishes many of the best lines. Karis Jack’s Little Sally and Mark Meadows’ sleazy senator deserve special mentions, as does an exceptionally strong ensemble.

Urinetown is modern musical theatre at its very best.


Booking to 24th January 2015 

Urinetown - Charity Gala Feature

Jenna Russell in Urinetown

I don’t usually plug gala performances, but as Urinetown opens in the West End, I am pleased to get behind this (number) one.

It’s on Monday October 20th supporting www.Water.org, for where Urinetown is a hilarious and satirical musical set in a futuristic, dystopian society where the Earth's water supply has been depleted, therefore making private toilets unthinkable and against the law, THERE IS A REAL GLOBAL WATER CRISIS, that we, in rainy, temperate, Northern Europe, are spared. 

Urinetown may be a dark comedy but the Water Crisis facts are the grimmest, bleakest of realities:

• 780 million people in the world lack access to safe water. 2.5 billion lack improved sanitation.

• 1 in 9 people don’t have safe water to drink. 1 in 4 doesn’t have a toilet.

• Every minute at least one child dies due to a water-related illness.

• More people in the world have access to a mobile phone than a toilet.

This special gala performance celebrates the beginning of a long-term fundraising collaboration between Urinetown and Water.org. Urinetown will be donating proceeds from the gala to the nonprofit organization, as well as providing ongoing support in conjunction with its West End run. 

“Water.org welcomes Urinetown’s support to share our vision of a world where everyone has access to safe drinking water and can experience the dignity of a toilet,” says Water.org co-founder Gary White…

…whilst Jamie Lloyd, the show’s acclaimed director adds “The best sort of theatre engages directly with the world.  It may be great fun, but it should also be vital and apposite, and perhaps, instigate a broader discussion.  Urinetown’s dystopian future does not have to be a prediction unless we make it so.  We are delighted that the production can assist the mission of Water.org whilst keeping its audience laughing along the way.” 

Tickets for the Gala range from a very reasonable £29.50, through to a £125 premium splash, that gets you into the afterparty too. If it wasn’t such a bargain, you’d think they were taking the piss!!

You can buy the tickets here:

http://www.urinetown.co.uk/gala.php