Author: Lucy Holz

REVIEW: The Maids

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Rating: 4 out of 5.

True-crime meets farcical fancy  

Tucked away in the West End, Jermyn Street is an intimate 70-seat studio theatre,  perfect for staging daring and exciting pieces of work. This fresh take on the  scandalous 1947 play by Jean Genet was translated into English by Martin Crimp and  debuted in 1999. Revived in co-production with Reading Rep by director Annie  Kershaw, The Maids is an exploration of class warfare with a fanciful twist. Annie Kershaw is amongst a new generation of directors and has come through Jermyn Street Theatre’s Carne Deputy Director Scheme in addition to winning the The Young Vic’s Genesis Future Directors Award – definitely one to watch and that I’ll be looking out for in future programmes.

Loosely based on a 1933 case of two maids brutally murdering their violent mistress  and her daughter, The Maids follows an evening in the life of two live-in servants,  Solange and Claire. These sisters are played beautifully by Anna Popplewell and  Charlie Oscar, capturing the souls of working class characters never given the chance  to live life outside the walls of the aristocratic apartment where they serve.  

Beginning with a fantasy, the sisters act out their visceral dreams to be both be and  murder their cruel mistress. Oscar stuns with her powerful presence as Claire,  impressively transforming from the Mistress back into a bedraggled servant. We see  Claire’s internal struggles unfolding before us, she is brave enough to secure secret  information from the household that will send the Master to jail, but becomes easily  and instantly overwhelmed by the hopelessness of her situation.  

Carla Harrison-Hodge injects some much-needed humour into the piece, stealing the  show with her excellent portrayal of the manipulative Mistress. Dipping into  perfectly timed farce, Harrison-Hodge is both charming and sickening, the ideal third  player in this fantasy scene.  

Stagecraft is sublime with lighting by Catja Hamilton illuminating some fabulous  jump scares and subtle score by Joe Dines creating an ominous atmosphere. The  padded walls of Cat Fuller’s stark white dressing room set evoke the feel of a psych  ward cell, perhaps foreshadowing the future of our murderous maids and certainly  representing how trapped they feel in the present.  

Running at 90-minutes straight through, this play feels like it’s over before it’s begun.  Kershaw has directed the two and three-hander scenes at a perfect pace, keeping us  totally enthralled for the first 3/4’s of the play. However, the inclusion of some  lengthy monologues that stray into the realms of heightened magical realism bring  the pacing to a screeching halt, giving the play a disappointingly anti-climactic finale.  Despite this, the production is mesmerisingly slick, with an onstage kitchen timer  keeping everyone on edge as the clock ticks away. A thrilling revival with a stellar cast, Kershaw has directed a truly exciting production.

REVIEW: Carols at the Royal Albert Hall

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Rating: 5 out of 5.

The most festive concert of the year

Heralded as ‘the most iconic place in London to enjoy a Christmassy concert’ by
Time Out, the Royal Albert Hall is truly the place to be this Christmas. Every year
Royal Albert Hall Trust presents their carols, and every year people flock to experience them.

The ensemble of the evening is packed with musical talent, including the National
Youth Choir and their conductor Nicholas Chalmers, the Royal Philharmonic
Orchestra, the British Imperial Military Band, organist Richard Pearce and conductor
Richard Cooke.

Tonight Greg Beardsell presents the Carols with a charming confidence, steering us
through the festive evening that flies by in a flurry of snowflakes and tinsel. The
soloist of the evening is Zara McFarlane, making a dazzling entrance in a glittering
silver gown with vocals to match.

An elevated version of your classic ‘Carols by Candlelight’, this concert boasts the
best of the best. Angelic voices, expert instrumentalists and world-class
arrangements, this production has become an iconic London attraction for a reason.

In the first act the performers are more reserved in their outfits, but after interval they
come back on stage having transformed themselves into elves, Santas and various
characters of Christmas stories. The choice of carols lean strongly towards their
religious origins, with a number of hymns and unique songs unlikely to be familiar to
secular audience members.

The real highlights of the show are our opportunities to singalong as an audience.
With a lyrics sheet provided on every chair, the audience are invited to join in for
renditions of ‘Once in Royal David’s City’, ‘Away in a Manger, ‘O Come All Ye
Faithful’ and of course ‘The Twelve Days of Christmas’, which has now become an
annual tradition.

The audience find other ways to participate, with inhabitants of the infamous ‘boxes’
decorating them with lights, tinsel and even disco balls. The other sections of the
audience have made do with bedecking themselves with decorations, from Santa hats
and Christmas jumpers to flashing necklaces made from fairy lights.

With Christmas trees around every corner, the hall is equally festooned and it’s
impossible not to be overcome with the festive spirit. Everything from the performers to the song choices to the firework cannons work in perfect harmony to create the ultimate Christmas experience.

Raising money in support of the Alzheimer’s Society and Royal Albert Hall Trust, it’s
a concert you can feel good about attending, with staff around the hall making it easy
to donate and make someone else’s Christmas a little brighter this year.

REVIEW: Nutcracker

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Rating: 4 out of 5.

A bold reimagining of a Christmas classic  

Performed worldwide at Christmastime, The Nutcracker is perhaps the most popular  of all the story ballets. With breathtaking music from Tchaikovsky, this ballet is iconic and thus a prime canvas for choreographers eager to make a name for themselves.  

The Nutcracker follows the story of Clara, an aristocratic child gifted a nutcracker for  Christmas Eve. When the Nutcracker comes alive she is transported into a world of  danger and delights, only to be whisked home just in time for Christmas.  

This most recent reworked version from English National Ballet, is a collaboration  between the artistic director Aaron S. Watkin and choreographer Arielle Smith. Their  creation leans heavily into the traditional British pantomime style, producing the  perfect Christmas ballet for kids.  

The first act includes some unique and very unballet-like choreography, with dancers  gyrating and thrusting their heads forward in a way very reminiscent of La Fille mal  gardée’s beloved chickens. At times it is difficult to ascertain if the younger dancers  are unskilled or if these forced mechanical moves just make them appear so.  

Fortunately, the second act proves the latter, as Watkin and Smith opt for more  traditional choreography that the dancers gratefully sink their teeth into. Emma Hawes is an ethereal Sugar Plum Fairy surrounded by an array of delicious sounding exotic sweets. Erik Woolhouse plays a charming Ukrainian roll, seamlessly showing  off his gravity-defying leaps and bounds.  

Rhys Antoni Yeomans does an admirable job remaining balanced while dancing the  role of Nutcracker Doll with a large fake head atop his neck, bringing us a dramatic  and dynamic battle with the Rat King (James Streeter). France’s Gabriele Frola plays  the Nutcracker Prince, a doll transformed by Clara’s heroics on the battlefield. Strong  and suave, Frola makes a fitting companion for the future queen of the kingdom.  

The real show stealer is the intricate costuming and magnificent set by Dick Bird.  Bird continues the beloved ballet tradition of high-budget, awe-inspiring sets, holding  nothing back in his creations, showing us everything from colourful Edwardian  streets to the vibrant Land of Sweets and Delights. Costumes are just as exciting if a  little more modern, with the Ice Queen and her snowflakes resembling the ‘Beauty School Dropout’ chorus in Grease. Some costumes reveal a little more than intended  during some of the more ambitious lifts, giving merit to the more modest construction  of the traditional tutu. 

Although ballet traditionalists may be left chuckling at some of the more unique  artistic decisions, this is the perfect ballet for children. With new characters, huge sets  and colourful costumes, this is the ultimate festive day out for young families.

The Nutcracker plays at the London Coliseum until the 12th January 2025.

Credit: Johan Persson

REVIEW: The Little Foxes

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Rating: 5 out of 5.

A blazing revival of an obscure classic

Rarely performed, the last time The Little Foxes was staged was 23 years ago,
according to director Lyndsey Turner. She jokes that after waiting 23 years for a
revival, we can wait another hour as the show start is delayed due to some technical
difficulties.

She turns out to be right, and this show is well worth waiting for. Following the
tumultuous dynamics of a deeply patriarchal family, this play is set in the post civil
war Deep South. The Hubbards have made a name for themselves as a middle-class
family who make their money from cheating and ripping off the ‘coloureds’ in town.
Following the civil war, they marry into an aristocratic Southern family, finally
making their fortune.

Despite some wavy Southern accents, it’s a show-stopping cast, driven by the
women, with each performer getting their moment in the sun. Lillian Hellman has
written a total ensemble piece, and Turner’s cast know how to deliver. Anne-Marie
Duff is a powerful Regina, playing the woman always scorned and overlooked by her
family, determined to finally make her fortune at any cost.

Mark Bonnar is a charismatic Ben Hubbard, with his younger brother and nephew
wrapped around his powerful little finger. His threats accompanied by smiles and
compliments send shivers down the spine of characters and audience alike.

The set by Lizzie Clachan is plain and uninviting, giving the Giddens house a prison-
like feel. So opposite from the sweeping plantation on which the aristocratic Birdie (Anna Madeley) grew up, in this house there is no art on the walls and the decor is
grey and minimalistic. The dining room is placed at the back of centerstage behind a
sliding door, occasionally giving those in the middle section of the audience a
glimpse into other areas of the house. However, this choice makes the dining room
completely invisible to large portions of the audience and any action occurring there
remains unseen.

Madeley is a captivating Birdie, constantly looking back at her days as a Southern
Belle through rose-tinted glasses. She is delicate but courageous, and thoroughly
likeable until the maid Addie (Andrea Davy), reminds the audience in a scathing
monologue that bystanders are as bad as perpetrators when it comes to oppression
and greed.

This sentiment, accompanied by re-contextualisation into somewhere in the 1950’s,
gives this play a relevance in today’s world. If we stand by and watch these greedy little foxes ‘eat the world’ and everything on it, are we not just as bad as the vermin
ourselves? With such a striking cast and tightly wound script, this 1939 classic is still
horribly relevant and utterly watchable.

REVIEW: The Great Gatsby

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Rating: 4 out of 5.

Theatre at its most glamorous  

The Great Gatsby has had many an adaptation over the years since its initial  publication in 1925. Most notably the 2013 film directed by Baz Luhrmann, starring  Leonardo DiCaprio as Gatsby. The most recent adaptation of this iconic novel is by  Scar Theatre and features a gender-flipped female Gatsby and multiple moments of  physical same-sex intimacy.  

A flawless production, this show, staged in The Cockpit, is sleek and well rehearsed. Adapted and co-directed by Mina Moniri and Peter Todd, this production is as good as it gets. Moniri and Todd have done an exceptional job of creating a traditionally naturalistic show for performance in the round, with no bad seats in the  house and action viewable from every angle.  

Movement director Vanessa Silva has choreographed multiple dynamic sequences to  break up the text-heavy material. Despite varying abilities, the ensemble perform  these beautifully, using their few numbers to create the ambiance of a jazzed up  crowd of partygoers letting loose on Long Island.  

Ethan Bareham is a standout Nick Carraway, barely leaving the stage as he narrates  us through this story. A charming idealist, Carraway’s innocence is completely  captured by Bareham, contrasting nicely to Emily Serdahl’s determined Jay Gatsby.  

This story may not have been the best background for a gender-flipped interpretation,  with some confusion within the play itself. Set firmly in the 1920’s, this is a society  that would be far less concerned with the adultery of Daisy and Gatsby, and much  more so at their illegal homosexuality as portrayed in this version. Moniri and Todd  have created an idealistic time period where homosexuality is not something worth  commenting on, yet in all other ways completely grounded in the facts of classism  and white supremacy of the time.  

Despite this contradictory adaptation, the production itself is faultless. Although the  leading actors each have their own strengths, this is truly an ensemble piece, with the  performers transforming from one character to the next with ease. Flynn Hallman is a  standout ensemble member, shapeshifting across class, age and sexuality from scene  to scene.  

Stagecraft weaves seamlessly into the production itself, with a classic soundtrack by  Alva Orr and subtle lighting by Finley Bettsworth. Set by Jack Spencer captures an  essence of both the original source material and the iconic 2013 movie, with the ever  elusive green light taking centre stage. The impressive collection of costumes by Eleanor Dunlop are glitzy and fun, remaining true to era and effectively portraying  character origin. It doesn’t get any better than this, so if glamour is what you’re looking for, look no further than a night at The Cockpit.

REVIEW: The Happiest Man on Earth

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Rating: 5 out of 5.

The ultimate story of horror and hope 

The best-selling memoir The Happiest Man On Earth: The Beautiful Life of an  Auschwitz Survivor, captured hearts across the globe when it was published in 2020.  Written by Holocaust survivor Eddie Jaku about his time during, before and after  WW2, this story uses the atrocities he experienced to drive home a message of hope  and kindness. 

This play, written by Mark St Germain, aims to capture the same honest tone and  impart the same powerful message as the original book. All the stagecraft for this  production works together seamlessly, with excellent lighting by Harold Burgess and  sound design by Brendan Aanes. Directed by Ron Lagomarsino, this one-man show  achieves everything it sets out to and more. 

At the heart of this play is Kenneth Tigar, the actor taking on the mammoth role of  Eddie Jaku. Informally beginning the show with a casual, lights up chat with the  audience, we are set up as Eddies ‘friends’, to help him work up the courage to speak  at his local synagogue. 

He then begins his life story, which is riveting enough to grip the audience  completely from start to finish, despite its length. Recounting his experiences of the  Holocaust in chronological order, his many near escapes have the audience at the  edge of their seats. 

A combination of luck, ingenuity, hard work and friendship allow Eddie to survive  the Holocaust, but it is his mentality in the years that follow that allows him to do  more than just survive, but to be happy. The message of loving everyone as though  they were family is conveyed beautifully by Tigar, with not a dry eye in the house at  the show’s conclusion. 

Tigar treats the material with respect, as if it were the story of his own life he was  telling. Transforming into Nazi’s and miming moments of connection, he uses  nothing to perform this monologue but himself. The bare staging by James Noone  allows him space to inhabit this character and this world, leaving nothing to distract  us from what we are witnessing. 

St Germain’s adaptation is masterful, compressing this mammoth story into just 90  minutes in a way that feels breathless but never rushed. Injecting the play with  humour prevents the story from becoming too one-note, while leading us to the final  message of the importance of friendship and kindness.

It is the book brought to life, with the added relevancy of the disturbing 2024 news  cycle making this play even more powerful.

REVIEW: The Bisexual’s Lament

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Rating: 4 out of 5.

The PowerPoint comedian is back with a powerful best-of show

A comedian who has well and truly made a name for themselves in Australia, Lou Wall is an award-winning standup known for their musical comedy and funky PowerPoint presentations. Having just made the leap over to London, Wall’s latest career move is off to a roaring start. 

The Bisexual’s Lament is Wall’s freshest offering, following the worst year in the comedian’s life. Although containing tremendous career success, this year also brought Wall great personal trauma, with a sexual assault, a family member’s dementia progressing and most notably, a breakup. 

Wall contends that rather than tragedy + time = comedy, comedy should be performed at the time of tragedy. They use this point to build the show around their tumultuous year and all the things that made them laugh. Narrowing them down to just 69 (which gives a good idea of the tone of this show), we are taken through these moments of laughter.  

Although coined as a new work, this production re-uses substantial material from previous shows, making it closer to a best-of collection. This also makes it the perfect choice for new audience members, but less titillating to any Wall fans who may have heard this material before. 

However, these gags are being reused for a reason, they’re some of Wall’s best work. A hilarious song about using Facebook Marketplace to get rid of a bed is a standout, making the audience shriek with laughter as the story picks up pace. 

The songs are the strongest sections of the set, with Wall’s well-timed rap pairing perfectly with slick PowerPoint transitions. Their stand up is looser and more casual, endearing them to their audience as they seamlessly weave in the good with the bad. 

Part of the show structure requires Wall to show the audience second-hand memes and videos, as these are some of the things that made them laugh in their time of tragedy. Although undoubtedly funny while scrolling through your social media feed, they are less so being projected on stage while the comedian you’re watching crouches down to watch them with you. 

But this is the style of Wall’s comedy, a millennial mix of real life and online, as they relate everything that’s happened in their life to a meme. No friend, lover or family member is safe from these comparisons, all go through the wringer during this high-energy hour. 

A triumphant show full of heart, The Bisexual’s Lament is an unfiltered, courageous and hilarious night at the theatre. 

REVIEW: Make Good: The Post Office Scandal

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Rating: 5 out of 5.

“A poignant new musical full of hard truths and heart”

The Post Office Scandal made international news when it was revealed that
thousands of sub-postmasters were owed compensation due to the gargantuan
failings of the Horizon technology rolled out by the Post Office. Horizon
consistently showed false shortfalls, with sub-postmasters accused of stealing
the money, rather than the system itself being reviewed. These sub-postmasters
suffered huge financial loss, family breakdown, societal alienation, unjust
criminal convictions, false imprisonment and at least 4 took their own lives due
to the situation they faced. With still no persecutions of those responsible, the
case continues to drag on, making this production still hugely relevant today.
Make Good follows the stories of 3 sub-postmasters who were wrongfully
accused of false accounting and theft. Peppered with direct address monologues
to keep the audience informed of the facts, the musical assumes an audience
already across the basics of this horrific series of events.
I was privileged enough to be seated next to 2 ex-postmasters who both
concluded that the show was not only completely accurate and in line with their
own experiences, but also cathartic and inspiring. My row companions and I
were moved to tears while hearing the stories of these people, scored with
beautiful music and lyrics by Jim Fortune.
Despite following the tragic stories of a select few of the impacted sub-
postmasters, this production does well to illustrate just how many people were
affected by the multiple failings of the Post Office. A front row choir helps to
build a strong vocal ensemble and give brief cameos as survivors of the scandal.
The book, written by Jeanie O’Hare is poignant and moving, but also
lighthearted and cheerful. O’Hare perfectly captures what the Post Office used
to represent, and the sense of community created by the dedicated sub-
postmasters.
The 4 performers create a flawless ensemble, transforming from their sub-
postmaster characters to judges, auditors, relatives, pensioners and everything in
between. Each is vocally accomplished, with Victoria Brazier standing out with
her stunning musicality and moving performance as Elsie, a sub-postmaster
who is implied to have committed suicide after her wrongful conviction.

The onstage musicians are masterful in their performance of the score, moving
between instruments seamlessly. Never drawing attention to themselves they
remain quietly in the background, bringing the masterful music to life.
Fortune has written a brilliant collection of songs, with the most moving and
ironically the catchiest You are not the only one, bookending the show and
perfectly cocooning the story.
Although a musical may seem a strange format with which to tell this story,
Fortune and O’Hare have truly created a masterpiece. Honouring the horrors
these people experienced while maintaining a sense of hope, community and
looking to the future. Surely it’s just a matter of time before this is picked up for
a West End staging.

REVIEW: Little Piece of You: An Atypical Musical in Concert

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Rating: 3 out of 5.

A poignant but criminally under rehearsed new musical  

Developed in America and currently having its European debut, Little Piece of You: An Atypical Musical in Concert has been in development since 2020. Conceived by and starring Kjersti Long as pop star Sydney Hill, this show explores the genetic component of mental health struggles by following one particular family tree and the suffering of its past generations. 

The score in its current iteration is co-written by Long and her father Jeremy, with book by Melissa Leilani Larson. It follows the struggle of teenager Britt (Dujonna Gift), dealing with her busy thoughts and an inability to fit in at school. Her mother Shannon (Mica Paris), suffers from depression and suicidal thoughts while her father Ethan (David Bedella), does his best to remain supportive and upbeat for his family. This central storyline is backgrounded by Britt’s obsession with pop singer Sydney Hill, who writes relatable songs about her own mental health struggles. 

The concept of the musical is a relevant one, as society becomes more in-tune with mental health and the repercussions of leaving conditions unaddressed or untreated. However, the execution of the story is lacking. With less than 2 weeks of rehearsal time, this concert performance feels more like an initial stumble through. Cues are missed, lines are dropped, there are countless sound and lighting issues. The only performer consistently hitting her marks is Long, with the others frequently leaving lengthy pauses as they seem to struggle to remember what to say or where to be. 

The backup dancers seem similarly unpractised, with half-hearted performances that read more like marking through the movements than opening night of a West End production. It’s difficult to review a show that seems so underprepared for the stage, as undoubtedly the opening night did not showcase the musicals full potential. Unfortunately, direction by Lauren Hopkinson is also sluggish, leaving a musical lacking pace or energy in-between upbeat concert interludes by Long.

There are some stand out performers of the night, including Bedella as a charming and patient father who disappointingly doesn’t get a song of his own. Long also perfectly captures the cringe pop star performance style of the 2000’s and sings her own songs with passion and energy.

Costumes by Elin Steele are eclectic and fun, additionally helping to convey the time jumps in act 2, assisted by slick changes performed by ensemble members. Long wears a particularly striking leather ensemble, providing further context around the kind of pop star Sydney is. 

This show has great potential, with good songs and an interesting premise. With some story rerouting and a few extra weeks of rehearsal Little Piece of You could become a total crowd pleaser, it’s just not there yet. 

REVIEW: Birmingham Royal Ballet: La Fille mal gardée

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Rating: 5 out of 5.

A rollicking story ballet for the whole family

Frederick Ashton’s comic ballet has been performed by Birmingham Royal Ballet since 1962 and is known as a classic piece of modern ballet repertory. Following the story of Lise and her beau Colas, La Fille mal gardée tells the tale of love; familial, unrequited and returned.

Despite her mother’s plans to marry her off to Alain, son of a wealthy vineyard owner, Lise refuses to deny her heart’s desire and continues to sneak off with Colas. The perfect ballet for the whole family, this fun-filled production has comic sketches, farmyard animals, clog dances and even an appearance from a 20-year old Welsh pony.

Beatrice Parma is a technically efficient and artistically beautiful Lise, perfectly capturing her youthful charm and rebellious nature. Paired with a dashing Enrique Bejarano Vidal as Colas, the two make the perfect pair, with the whole audience rooting for the couple’s success.

In the classic role of widow Simone is a blustering Rory Mackay, easily playing his part as an overbearing but sentimental mother with a particular aptitude for clog dancing. However, no-one steals the show more than Alain, played to hilarious perfection by Gus Payne, pairing high technical difficulty with artistic brilliance. Filling the auditorium with giggles, the comic elements of this production are emphasised but not overplayed, with a combination of expressive slapstick and beautifully executed dancing.

These solo performances are backgrounded by a strong ensemble of artists, with a special mention to the crowd-favourite cockerel, performed by August Generalli. No-one could master a rooster’s mannerisms better, except perhaps his clucking harem of hens.

The timeless ribbon element of this production is performed with an infectious vitality, the leading couple creating shapes with their length, the ensemble carrying out the iconic maypole dance, and Parma holding an elegant arabesque, unsupported amongst a sea of pink ribbon.

Accompanied by the Royal Ballet Sinfonia, this light-hearted revival is the perfect ballet for the whole family. The score, conducted by Paul Murphy captures the levity of the story playing out before it’s audience on stage, bringing all visual elements together to create a flawless production.

An unmissable treat for the young ballerina in the family, this production is the perfect introduction to classical dance. A full-length ballet split into 3 acts, this rendition is easily digestible for the ballet newbie, or the small children in the family.