The Code - Review

Southwark Playhouse, London

*****

Written by Michael McKeever

Directed by Christopher Renshaw

Tracie Bennett

Michael McKeever’s The Code opens at the Southwark Playhouse in an evening of stunning drama. In a tight 90-minute one act piece set in the 1950s, the titular code is the puritanical Production Code drawn up by the major film studios and which sought to drive out homosexuality from the movie industry. Lob in a backdrop of McCarthyism and McKeever paints a grim and toxic picture of Hollywood.

The drama’s two protagonists are the actor Billy Haines (played by John Partridge) and the agent Henry Wilson (Nick Blakeley). Haines had famously fallen from the very heights of stardom for his refusal to accept the Code and walk away his long term gay relationship. Willson however defined the very depths of Hollywood’s hypocritical toxicity - hiding his homosexuality and publicly complying with the Code. In an ingeniously and cruelly scripted arc, we see Willson preying on Chad (Solomon Davy), a handsome young wannabe male actor who is deviously and heartbreakingly manipulated by the agent.

McKeever’s masterstroke in this fictional piece is to create a triumvirate of leading voices, drawing Hollywood star Tallulah Bankhead (Tracie Bennett) into the narrative. At times Haines’s sparring partner, other times a Greek chorus, Bankhead’s presence makes the narrative crackle with a riveting intensity. The dialogue throughout is piercingly sharp, with Bennett on her finest form delivering acid drops of perceptive irony that add frequent moments of perfectly formed comedy, and at times where one least expects to laugh. Partridge too brings a compelling authenticity to the nobly principled Haines, while Blakeley’s despicable Willson is chillingly convincing.

Christopher Renshaw’s direction is meticulous – with each of the quartet precisely drilled in the timing and nuance of their performances. Ethan Cheek’s designs for both stage and costume are exquisite. Bennett’s gown is wondrous, while the men’s black patent shoes that complement their tuxedos are to die for!

The Code is as much a history lesson as an evening’s entertainment. Boldly and brilliantly staged, this production deserves a West End transfer.

Runs until 11th October

Photo credit: Danny Kaan

Le Grand Mort - Review

Trafalgar Studios, London

****

Written by Stephen Clark

Directed by Christopher Renshaw

Julian Clary

It is a rare treat these days to see a play written for its star. So it is with Le Grand Mort, penned by Stephen Clark and created specifically with Julian Clary in mind. Amidst a whirlpool of emotions, the unintended and unspoken sadness of the night is that Clark tragically died last year, never seeing the play brought to life.

Clark has written an exquisite piece that places Clary as Michael, a 50-something architect with a lifestyle that’s a fusion of Hannibal Lecter with, for those who can remember back that far, Graham Kerr’s Galloping Gourmet. (Younger readers may prefer to context Come Dine With Me.) Indeed as the play opens and Clary’s cookery commences, the air inside the compact Trafalgar 2 becomes quickly thick with the scent (stench?) of frying onions.

The action never leaves Michael’s kitchen, a fully functioning showpiece of a set from designer Justin Nardella, in which the preening professional is preparing pasta puttanesca (literally whore’s pasta) as he awaits the arrival of the much younger, rough-trade Tim. We learn that this is the first potentially romantic liaison of the two men after a period of pub-based flirting, but with a rack of chic kitchen knives ever prominent, menace is clear from the outset.

Clark’s writing has a cadence that’s rarely found these days, conjuring up images from a prose that is as assonant as it is meticulous. The whole piece runs for a non-stop 90mins, the first third of which is virtually a Clary monologue. One could almost be witnessing a grown-up version of The Joan Collins Fan Club such is Clary’s wit and persona - even if the patter he regales is a gruesome comment on death and necrophilia.

The arrival of James Nelson-Joyce’s Tim catapults the evening into a 21st century Sleuth. We learn that little of what the young man says is true - however it is clear from both his perfect physique and razor sharp wit, matching Michael's repartee word for word, that he is irresistible to the architect.

Clark’s writing is graphic and as his narrative unfolds to encompass incestuous paedophilia it is clear that his two protagonists are deeply damaged souls. But whilst the play’s language and its acting soar, it is hard to care too much for either man - even if Nelson-Joyce’s impressive nudity does briefly shift one’s attention from cook to cock.

The performances here are unquestionably first class and while Le Grand Mort may not be quite the comedy it set out to be, treat yourself to a large glass of Montepulciano and savour the work that’s on offer. Clark truly proves that there’s no fool like an old fool.

Runs to 28 October

Photo credit: Scott Rylander

Pure Imagination - Review

St James Theatre


****


Devised by Leslie Bricusse, Chrisopher Renshaw and Danielle Tarento
Directed by Christopher Renshaw

Giles Terera

Who can take a set list? Sprinkle it with class……

… as through two hours a delicious cast of 5 chart a course through nigh on 60 of the songs of lyricist Leslie Bricusse. Unashamedly a ‘juke-box musical’, the show marks producer Danielle Tarento’s first foray into that genre, with a combination of both song snatches and entire numbers as Bricusse’s remarkable body of work is referenced and respected.

There is however something distinctive to Pure Imagination that sets it apart from most of the other shows that have been fashioned out of back catalogue cash-cows and which currently clog London’s theatres. First and foremost, Bricusse is a wordsmith whose career has seen him partner a diverse range of composing collaborators.

Sure the man has penned a few melodies himself, but that the show includes tunes from those Atlantic-straddling greats including John Barry, John Williams, Henry Mancini and of course Anthony Newley, leads to a collection that is close to a chocolate box of surprises. Who knew that (under a pseudonym) Bricusse had lobbed in the lyrics to Lonnie Donegan’s skiffle delight, My Old Man’s A Dustman, which with honky tonk piano brought on centre-stage, gives rise to a rather wonderful almost knees-up in the first half!

True to form, Tarento draws a talented company to stage the show. Veteran Dave Willis is The Man, oozing panache and flair with every number and in an exciting Who Can I Turn To? proving that he still is, very much, the man. Opposite Willetts, Siobhan McCarthy is The Woman, bringing a measured maturity to her share of the numbers, her act two opener a sizzling, Fosse-infused, Le Jazz Hot a delight.

Other special moments include Willett’s laconic Bond-fuelled take on Goldfinger (even if he channels more Moore than Connery) with perhaps the cheesiest/wittiest segue ever as The Man smoothly segues into Talk To The Animals from Giles Terera’s feline Pink Panther (yes, there were lyrics to that iconic signature tune)

Terera’s Joker offers talent elsewhere too, making spines almost tingle in his What Kind Of Fool Am I and giving a stylishly sassy take to If I Ruled The World.

As The Boy, Niall Sheehy brings a younger perspective to some numbers, with Jekyll & Hyde’s This Is The Moment proving particularly special. Completing the cast, Julie Atherton brings her hallmark polished poise to the production

That the band’s sextet outnumber the actors speaks volumes for the creatives’ vision and much of the evening’s credit is due to Michael England’s immaculate arrangements and pinpoint musical direction. Mention too for Richard Coughlan, whose finely fingered bass work enhances the production’s jazz.

Chris Renshawe directs with a wise touch. Old enough to understand Bricusse’s legacy, Renshawe keeps his finger firmly on a contemporary pulse, ensuring a style that works for today (even if the numerous selfie gags are a touch laboured)

The pure imagination of Bricusse, Tarento and Renshawe has created a confection of a show that blends nostalgia and wit with a generous splash of excellence. It all makes for a charming night out.


Runs until 17th October 2015

Taboo - 2013 cast

Brixton Club House, London

****

Book: Mark Davies Markham

Music & lyrics : Boy George

Director: Christopher Renshaw

Jordan-Luke Gage as Marilyn

Chris Renshawe’s site specific revival of Taboo at the Brixton Club House, set an ambitious aim for an off West End production even with its initial longer than usual performance run of three months. That run has itself now been extended to six months, with some cast changes, which speaks volumes for the foresight of producers Danielle Tarento and Bronia Buchanan in staging this still provocative even if mildly, but nonetheless deliciously, dated show. It is thus a delight to re-visit the production to witness not only seasoned performers three months in, but also to observe the latest cohort of freaks to join this outlandish troupe as they perform The Boy George Musical.

The book traces photographer Billy from teenage to adulthood as he discovers his sexuality within the ambivalent and decadent world of the 1980’s London club scene. Billy, his parents and girlfriend Kim are fictional creations, but the people and freaks that they encounter were living cultural icons of their time.  Amongst these real life caricatures, Leigh Bowery was a flamboyant inspiration of the mid 1980’s London club scene. An obese Australian, whose outlandishly made-up visage contributed to the Punk/New Romantic cultural crossover of the times, he is played in the show by Sam Buttery, a finalist from TVs The Voice. A flamboyant Oscar Wilde like creation, we encounter Bowery whilst he cottages and his character’s arc through to an early HIV-AIDS related death, leads to one of the show’s moments of poignant tragedy. With I’ll Have You All, Bowery shocks and laughs as he touches upon the men from all reaches of society who have rented his sexual services, yet with Ich Bin Kunst, (transl “I Am Art”)  he sings honestly and powerfully of his impact upon the world. Bowery’s closest friend of the time was (Big) Sue Tilley, played by Katie Kerr who like Buttery, has been with the run since commencement. Sue’s love and support for Bowery deepens through the story and as her friend finally succumbs, Kerr’s stunning rendition of Il Adore reduced much of the house to sobs.

Phillip Sallon, another key pillar of the gay/club (anti) establishment, continues to be played deliciously and flamboyantly by the talented Paul Baker. Equally at ease in leading the line as he is in engaging with provocative ad-lib banter, Baker is a consummate professional and a talented singer. Petrified, sung prone following a homophobic beating provides another moment of raw human grief that Mark Davies Markham draws into the spotlight of his book.

Amongst the new cast members, Julia Worsley’s Josie, Billy’s mother, gives a powerful performance as a woman ridiculed by her ignorant abusive husband before eventually and very publicly being confronted with her son’s homosexuality. Worsley digs deep for her character and her gut-wrenching Talk Amongst Yourselves proves a highlight of act one. Josie’s self-discovery and re-working of family relationships in the second act are further displays of both the depth and breadth of Worsley’s craft.

Boy George and Billy are played by debutants Paul Treacy and Alex Jordan-Mills. Both performers shine, yet both also suggest that they have more in the tank to offer. Boy George in particular was a keystone character of his era and represents a challenge to any performer. Both these young actors are likely to grow in both confidence and stature as the run continues. Devon-Elise Johnson brings an innocent fragility to Kim, at heart a sweet and innocent naïve thrust into a harsh and freakish world. As she discovers Billy’s betrayal of her and sings Pretty Lies, she displays a set of pipes that belie her age. She is without doubt an actress to look out for.  

Owain Williams’ Steve Strange, a portrayal of yet another ancient icon who was in fact amongst the press night audience, is a small role wonderfully delivered. Williams, who also originated the role in this production, has matured wonderfully over the run and his interaction with his character’s real life counterpart was a delight. Jordan-Luke Gage’s new boy interpretation of Marilyn is an entertaining and accurate depiction that chimed well with those of the audience able to recollect the era.

The show is a technical treat, performed on a catwalk that runs through the Club House bar, with every available inch of space used to tell its tale. It remains a highlight of the capital’s fringe and with its intoxicating blend of outrage, tragedy and biting satirical comedy, continues to be a grand night out in Brixton.

 

Runs to March 31 2013

Taboo - Review

Brixton Club House, London

This review was first published in The Public Reviews

*****

Book: Mark Davies Markham

Music & lyrics : Boy George

Director: Christopher Renshaw



Matthew Rowland as Boy George
Picture by Roy Tan

Taboo is an updated and re-imaged take on a show that first arrived in London a decade ago.  Staged upon an intriguing catwalk that seductively threads its way through the audience exploiting every facet of this unusual venue’s intimacy, one senses that director Renshaw, who created the original concept of the show with Boy George in the last millennium, is delivering authentic excellence. 

Paul Baker reprises the role of Phillip Sallon that he created in 2002. Act one opens with his Ode to Attention Seekers and his command of the audience is startling. His make up is vivid with his perfect poise and movement setting the tone for the production’s descent into the sexually ambivalent world of London’s club scene.

The show’s story follows rookie photographer Billy who we meet living with his parents. As the programme notes comment, it’s Billy’s lens that captures the world of the 1980s that surrounds him. One of the BBC’s Josephs, Alistair Brammer plays Billy with just the right combination of strength, naivete and curiosity. His mum and dad are the West End stalwarts Sarah Ingram and Michael Matus. Ingram’s performance as a mother who initially struggles to accept her son’s sexuality is touchingly crafted, whilst Matus portrays the misogynist and intolerant father with a chilling degree of slobbish ordinariness. Matus plays two other small but critical roles in the show with breathtakingly slick costume and make-up changes.

Sallon introduces Billy to the hedonistic world of Boy George and his assistant Kim where love soon blossoms between the photographer and the girl. Whilst Kim is attracted to Billy, so too is Boy George. Billy becomes an emotional pinball ricocheting between his desire for Kim and finding the sexual attentions of the singer irresistible. As he deflowers Kim, so in turn is he deflowered by Boy George. Playing Kim, Niamh Perry a BBC Nancy and now a young and accomplished West End star, is a convincingly vulnerable young adult. She sings Pretty Lies, in which she confronts Billy’s betrayal of her, with a vocal performance that is as powerful as it is pained.

Matthew Rowland quite simply IS Boy George. Making his professional debut, Rowland evokes the singer’s immediately recognisable look, style and affectation. He charts George’s rise to fame and drug fuelled collapse in a tour de force performance. For those old enough to remember the 80s, to look at Rowland is to step back in time. Leigh Bowery is a slightly lesser known character from that era who ran the Taboo Club. Obese, flamboyant and literally larger than life, Sam Buttery ( a finalist on BBC’s The Voice ) is yet another professional debutante who dominates his scenes with confidence and clarity. His remarkable make up changes, designed by Christine Bateman, expertly applied by backstage assistants from Greasepaint school.  Owain Williams as Steve Strange and Adam Bailey as Marilyn complete the set of instantly recognisable faces of the age, each captured in performances that combine both character and caricature. Anne Vosser’s casting has been exceptional. 

Together with Bronia Buchanan, Danielle Tarento has again produced a theatrical masterpiece, supported by talented creatives. Mike Nicholls’ costumes evoke both Punk and New Romanticism.  Howard Hudson lights the confined spaces of the club ingeniously and Graham Simpson’s sound design ensures that the cast are clearly heard against the sound of Matt Smith’s three piece band, whilst choreographer Frank Thompson’s dance exploits every aspect of the performance space.

Blending fable with fact and new talent with established troupers, this flawless production is quite possibly one of the best shows to open in London this year.

Runs until December 23