Review: Apologia at Trafalgar Studios

“The perfect balance between comedy and drama, Apologia is an honourable piece of theatre – and it’s not only the cast that makes it so.”


Set in the UK in fairly recent times, this is Jamie’s Lloyd’s second take on Alexi Kaye Campbell’s 2009 family drama, and I can confidently say that it’s one of the greatest shows I’ve seen this year. With a healthy balance of comedy and drama, and a captivating cast to boot, the performance had me hooked from the opening moments – and I was lucky enough to see it all from the second row.

Kristin (Stockard Channing), a well-known activist and art historian, has recently released a memoir that has caused great offence to her sons, Peter and Simon, for one reason: she has failed to mention their existence. When Peter (Joseph Millson) shows up at his mother’s quintessential British home with girlfriend Trudi (Laura Carmichael), he’s an ill-disguised ticking time bomb, desperate to confront her over the omission, but refraining from doing so, presumably because it’s her birthday celebration.

This is Trudi and Kristin’s first meeting and Kristin makes little effort to hide her contempt over the fact that her son’s girlfriend in American, despite being American herself. Trudi’s patience with Kristin and the ease with which she counteracts Kristin’s scathing remarks with kindness are perhaps largely down to her Christian beliefs – yet another thing Kristin scoffs at.

Later, we meet Claire (understudy, Isaura Barbé-Brown), Simon’s soap star girlfriend. Instantaneously, we realise she’s another of Kristin’s favourite targets for criticism, although she holds her ground much better than Trudi can, accustomed to tackling her barbs.

Simon (also Joseph Millson), thinner skinned than brother Peter, fails to join his family and flamboyant dinner guest Hugh (Desmond Barrit), and so the awkwardly entertaining evening continues without him.

For the whole of Act One, it’s clear to see how much Channing revels in delivering Kristin’s most biting blows. At points, she looks out into the audience, smirking or fighting to disguise a laugh; I was often unsure whether she was in character or corpsing during these moments as it could quite easily be either of the two, but I loved them nonetheless.

Millson and Carmichael make a sickeningly sweet couple, as they’re supposed to. Trudi’s habit of adding the word ‘sweetie’ to the end of practically every sentence she says to Peter is intentionally irritating – and if anyone can pull it off, it’s Carmichael and her American inflection.

Barbé-Brown does an incredible job of standing in for Freema Agyeman; playing up to Claire’s penchant for arguing that her show is a serial drama rather than a soap, it’s clear that she has fun with the role. The dynamic between her and Carmichael is interesting to watch, as Claire and Trudi – women of a similar age – couldn’t be much further from each other in attitude and aspirations.

Barrit, the one man humour-mill in this show, is amusing, although the character brings little depth to the tale. Hugh is humorous and he knows it, but he serves no purpose other than to crack jokes and very occasionally act as a glowing reference for Kristin when talk turns to the ‘good old days’, when she was heavily involved in activism and hardly involved in her children’s lives.

Act Two sees a shift in focus as Simon makes an appearance. Downtrodden and depressed, most of the stage time in this act is dedicated to Channing and Millson, as Simon recounts an eventful night when his mother forgot to collect him from a train station in Genoa and an unknown man stepped in to pick up her slack.

A stark contrast to what we’ve seen so far, the Kristin unable to climb down from her high horse has been replaced by an emotionally vulnerable fraction of the version of her we saw just half-an-hour before, and… is that regret we can see in her eyes?

She dabs at a wound on Simon’s arm – the only mothering thing she’s done for the duration of the play – anxious for him to reach the end of that story because, if the man at the station did indeed cause him harm, she’s unsure whether she’ll ever be able to forgive herself.

The perfect balance between comedy and drama, Apologia is an honourable piece of theatre – and it’s not only the cast that makes it so. The set was one of the things I loved most about this show. Carefully crafted by Soutra Gilmour, the countryside kitchen is beautifully British and has a way of drawing you right in and making you feel at home. Sitting in the front two rows, you almost feel as though you’re a guest at Kristin’s birthday dinner.

The lighting and sound only add to the ambience, too – the soft light emitted from the fridge during the opening scene adds intrigue, as we are introduced to Channing’s character incompletely, whereas the harsh rainfall against the back of the set makes good use of pathetic fallacy.

All in all, I found Channing’s return to the West End after some 25 years of absence to be a triumphant one. Undoubtedly my favourite performer in the unapologetic Apologia, I for one hope she won’t wait too long before treading the boards on a West End stage once again.

Approx. running time: 2 hours
Date attended: October 21
Understudies: Isaura Barbé-Brown as Claire
Closing date: November 18

Review: Cat on a Hot Tin Roof at Apollo Theatre

“Act One is dominated by Miller and O’Connell, baring the trials and tribulations of Brick and Maggie’s broken marriage for all to see.”


I’ll be the first to admit I don’t read into plays too much before I book tickets. I’m sold after a brief glance over a plot overview or a stand-out performer on the cast list. Sometimes, if a show has received a string of five-star ratings, I’ll even book tickets without having a clue what it’s about.

Cat on a Hot Tin Roof was different, because Cat on a Hot Tin Roof was written by Tennessee Williams. It was just several months ago (seven, to be precise), when I fell in love with Williams’ The Glass Menagerie, so it wasn’t a case of waiting to discover how many stars the show would receive; if he wrote it, I had to see it.

And so it was with high expectations that I entered the Apollo, confident in a cast list which was inclusive of Sienna Miller, Jack O’Connell and Colm Meaney.

The striking thing about this performance, however, wasn’t the new take on Williams’ characters; it was the direction in which director, Benedict Andrews, had taken the 1955 play. In a modernisation which caused mixed feelings among audiences, we see husband and wife Brick (O’Connell) and Maggie (Miller) holed up in their room with little but a shower and several bottles of whiskey to distract them from the tensions in their relationship – both of which Brick turns to frequently.

It’s quite clear that something’s eating away at Brick; he’s sullen, serious, and forever on the defensive, not to mention a self-confessed alcoholic. Maggie unabashedly showers Brick with unwanted sexual advances, telling him how desperate she is to have a child, yet he keeps rejecting her. Could this be because he’s drowning in regret over his failure to reveal his true feelings to good friend, Skipper, before he died? Brick denied that he had any romantic feelings for Skipper years ago; in doing so, did he deny himself of what he really wanted?

Act One is dominated by Miller and O’Connell, baring the trials and tribulations of Brick and Maggie’s broken marriage for all to see, behaving as no-one would outside of the comfort of their own four walls. Walls which, in this instance, are ironically golden.

Act Two shifts the focus onto the relationship between Brick and his father, referred to as Big Daddy (Colm Meaney). He doesn’t yet know it, but Big Daddy is dying and that’s perhaps the thing that terrifies him most.

Of the three lead performers, I felt it was Miller who gave the best performance, with her simpering, Southern belle tongue and her ability to show the vulnerabilities that lie behind such a headstrong character. She featured very little in Act Two and, I have to say, the second half was severely lacking without her.

When it comes to O’Connell, I certainly admire his confidence on stage; when lights go up at the start of the show, they reveal O’Connell sat naked in the shower and this isn’t a one-time thing. Many asked the question: was it necessary? Perhaps not. Did he deliver with complete professionalism? Absolutely. Who knows, maybe these scenes will pave the way towards making nudity on stage less of a taboo.

His American accent, on the other hand, was a slightly different story and, although he was convincing at times, there were too many moments when I could detect his native undertones.

All in all, I can’t say that this production blew me away, despite some huge talent being involved in its creation. While I’m all for modern theatre, I feel that Cat on a Hot Tin Roof was maybe one best left in the past – not literally, but certainly in terms of the production concept.

Approx. running time: 2 hour 45 mins
Date attended: 5 August
Understudies: none
Closing date: closed last week. To be aired in cinemas nationwide on February 22 2018 as part of NT Live.

Review: Disco Pigs at Trafalgar Studios

“Catching Colin’s eye is somewhat unnerving because, in that moment, it really is difficult to remember that he is not Pig.”


It’s been a while now, since I went to see Evanna Lynch and Colin Campbell in Disco Pigs in Trafalgar Studio 2, but it’s fair to say that it still remains at the forefront of my mind.

First of all, let’s set the scene: Studio 2 is an incredibly intimate venue, with the capacity to hold just 98 people in the audience. Studio 2 has no stage – it’s merely a dark room, and those sat in the front row (as I was), literally have the performers just centimetres away from them. Let’s refer to it as ‘spitting distance away’ since, yes, I did actually get some spit on me at one point during the performance. I wonder if that counts as audience participation..?

An intense setting for an intense play. Perfect.

Once I’d become accustomed to feeling as though I was back in drama class at school (in terms of proximity to the actors, not their acting abilities), I next had to acclimatise myself to the accent and dialect used in the show.

To give a little background, Disco Pigs tells the story of two inseparable friends, born on the same day in the same hospital and raised in Cork, Ireland. So close are they, that they’ve created their own language, which certainly renders it a challenge making sense of the dialogue for the first 15 to 20 minutes of the show.

Just turned 17, ‘Pig’ and ‘Runt’ venture outside of the universe they’ve created inside their heads for the first time to the world of disco, and in no time at all, we witness them spiral out of control.

In their new-found world of disco and drink, they party like tomorrow is never going to come, revelling in a game whereby Runt seeks attention from other men before Pig marches over, acting the affronted boyfriend and confronting each man who has fallen prey to their manipulation.

Perhaps predictably, Pig’s fierce protectiveness over the girl he has grown up with turns to feelings of romance. When they finally make it to the Palace Disco – the one Runt has set her heart on – the latter is surprised to find herself enjoying attention from a certain male, all thoughts of game-playing forgotten. Pig, however, doesn’t realise it’s game over, and he can never come back from the result of his actions that follow.

Marking the 20th anniversary of the production’s British debut, both roles were impeccably cast. Evanna’s very aura makes her an intriguing figure to watch on stage, and she immerses herself in this role with clear passion and thirst to explore the character. Her vacant expressions combined with the strong delivery of her lines make the character as baffling as I assume she was meant to be. As an audience member, you wouldn’t be alone in wanting to be able to read Runt’s mind, simply because she is that eccentric.

With Colin, it couldn’t have been more obvious that he gave his all to the performance – the evidence was there to see, from the wild glint in his eye, to the sweat pouring down his face. While he and Evanna both make frequent eye contact with audience members, catching Colin’s eye is somewhat unnerving because, in that moment, it really is difficult to remember that he is not Pig. With his outbursts of anger, it feels dangerous to be in his presence, and I’m sure the audience member who had to move hastily out of the way when he sent a prop flying can account for that!

For a show with such basic production values – think minimal props and set, no special effects, just disco lighting and blaring music – Disco Pigs has an incredible way of drawing you right in and rendering you unable to look away. Although moments in the show lack clarity and leave you feeling confused, the enjoyment remains, and I for one left Trafalgar Studios wondering what the hell I’d just witnessed.

Approx. running time: 1 hour, no interval
Date attended: August 4
Understudies: none
Closing date: closed on August 18




Review: Harry Potter and the Cursed Child at Palace Theatre

“Samuel – like Anthony Boyle before him – far outstrips all other cast members on stage, despite having a fraction of their experience.”


WARNING: contains spoilers.

Since opening officially in the West End last July, Harry Potter and the Cursed Child has racked up so many awards that I’ve lost count, including a record-breaking nine Oliviers. The days where theatre critics and fans were sceptical of this show are little but a distant memory and – as an avid Potter fan for the last 16 years – I have to admit that I was overwhelmed to see the show essentially giving those sceptics the middle finger.

Last month, I was lucky enough to return to the Palace for my fourth visit to Cursed Child and my first time seeing the new cast. While it may be said that the original, Broadway-bound cast were a hard act to follow, I won’t be the first to have noticed that Year 2 are taking ownership of their characters and doing an absolutely incredible job.

I’ll start with Theo Ancient (Albus Potter) and Samuel Blenkin (Scorpius Malfoy) – the true stars of the show. When you’re watching these two on stage, it really is far too easy to forget that they are straight out of drama school, and that’s what makes their performances so impressive.

Theo perfectly portrays Albus’ vulnerabilities and insecurities, and succeeds in showing audiences a likeable side to Albus – something which I doubted possible after seeing Sam Clemmett truly bring out the bratty side to Harry’s youngest son several times (and that’s not to discredit Sam’s performance, he’s great, he just plays the character in a way I struggled to find likeable).

Samuel – like Anthony Boyle before him – far outstrips all other cast members on stage, despite having a fraction of their experience. Honestly, it’s a joy to watch Samuel every moment that he’s on stage – his mannerisms, quirks and comedic timing are perfect for the role, and he certainly knows how to pull on the heartstrings, too (I needn’t say any more than ‘library scene’.) If Samuel goes on to win the amount of critical acclaim Anthony did, it will be thoroughly well deserved.

When it comes to the leading man, I see Jamie Glover (Harry) as somewhat of a ‘middle ground’ between Jamie Parker (who was incredibly shouty) and Stuart Ramsay (Jamie Parker’s softly-spoken understudy). He touches upon Harry’s troubles with a certain amount of ferocity, while keeping his struggle with fatherhood entirely relatable.

And talking of fatherhood struggles brings me nicely onto James Howard’s portrayal of Draco. While I could write about this character all day, I’ll keep it reasonably brief: for me, James brought a regality to Draco that I absolutely believe to be realistic. Both the way he carries himself and the way he speaks are so controlled, and in many ways he allows the self-assurance Draco had in his early teenage years lives on. However, Draco is shrouded in darkness due to the loss of his wife, Astoria, and clearly doubting his abilities as a father, and I feel that James hits the nail on the head when it comes to his emotions – he goes above and beyond in showing Draco’s grief and inner conflicts, not to mention his love for Scorpius and determination to do right by him. And, despite everything, James delivers Draco’s lighter lines in such a way that it’s impossible not to laugh. For me, he brings the perfect portrayal of a Draco who has learnt from his mistakes and strives to be a better person, for the sake of his wife and son, while keeping sight of key character traits that make the character development entirely believable, including his sense of superiority and burning desire to mock those around him.

My last cast member mention goes to Rayxia Ojo, who deserves some understudy love for making her debut as Rose Granger-Weasley in this performance. She was confident and commanding on stage, which made her an all-round great fit for the role.

There are many aspects of this play beyond the performances that contribute hugely towards making it the success that it is. Firstly, Imogen Heap’s musical composition. Many people, particularly the less intense fans, go to see the Cursed Child expecting to hear the tune everybody best associates with Harry Potter: Hedwig’s Theme. In reality, what Imogen has brought to the table gives the show its own identity, allowing it to break free from the Potter stereotype. From soft melodies for emotional scenes, to the harsher sounds of the AU, the soundtrack felt like a breath of fresh air for the franchise when I first saw the show, and fast became one of my favourite parts.

The special effects – as you might expect (or at least hope for) with a show that revolves around magic – are out of this world. I don’t want to go into specifics here as it will give too much away, but the honest truth is that some of the effects still leave me with my jaw on the floor, and I’m the first person to admit that I’m difficult to impress.

For me, the only part of this show that leaves room for criticism is the script. While I’m able to enjoy this show time and time again, I feel that has very little to do with the script, many parts of which seem to me to be little more than fan service. From Scorpius’ entirely unbelievable crush on Rose, to Draco’s subtle attempts to flirt with Hermione despite the fact he’s still grieving for his dead wife, the show seems to give a nod to every OTP that exists. Jo Rowling’s (I’m assuming this was her input at she did it in the novels, too) apparent need to pair characters off (or at least make them all have romantic feelings for each other) is irritating, unnecessary and adds nothing to the story.

This aside, the predictability of Astoria’s death still hits a nerve with me, and the fact that the storyline largely revolves around time travel seems to be a desperate attempt to bring back characters that Jo feels bad about killing off, if only for several minutes. As for the Voldemort-is-Scorpius’-real-daddy thing, don’t even get me started…

All in all, I feel the outstanding cast and crew, both past and present, have done an absolutely amazing job of bringing an average-at-best script to life, and bringing us fans back to the heart of the world that world that we love so much using an entirely different medium. This show will inspire a younger generation of theatre-goers as the books did a younger generation of avid readers. I admire every single person involved, and I can’t wait to see it all again.

Approx. running time: Part I – 2 hours 45 with interval, Part II – 2 hours 30 with interval
Date attended: July 15
Understudies: Rayxia Ojo (Rose Granger-Weasley) and Joshua Wyatt (roles including Karl Jenkins)
Closing date: open-ended, currently booking until July 2018


Review: Queen Anne at Theatre Royal Haymarket

“Cunniffe portrays Queen Anne’s fragility to perfection; she stoops, shakes and shies away from responsibility.”

QueenAnneTheatreRoyalHaymarketAfter reading mixed reviews from theatre critics, I was really unsure of what to expect from this RSC West End transfer, but I have to say I was mildly surprised.

Having learnt little history at school, I arrived at the theatre with no previous knowledge of Queen Anne, so for me, this production was almost like a sneak peek into British history and the life of one of our past monarchs.

The show revolves almost entirely around the seemingly healthy relationship between Queen Anne (Emma Cunniffe), and her close friend and confidant, Sarah Churchill, Duchess of Marlborough (Romola Garai). However, the relationship is soon revealed to be riddled with bitterness, jealousy, with infrequent hints at something beyond platonic friendship.

Plagued by multiple health issues, Anne heavily relies on Sarah for moral support, not only in the lead up to her coronation but once she is Queen, too. The Duchess is headstrong, self-assured, and certainly knows how to pull Anne’s strings in order to influence her decisions.

When the Queen strikes up an unlikely friendship with her servant – also the Duchess’ cousin – Abigail Hill (Beth Park), Sarah gets a case of the green-eyed monster, and is soon spreading slanderous rumours insinuating that the pair are a little more than just friends.

Before your eyes, you see Anne grow from a sickly woman, reluctant to fulfil her duties as the British monarch, into a woman much surer of her own mind.  Although never entirely independent, Anne becomes more confident in her ability to make decisions as she steps out of Sarah’s shadow.

Cunniffe portrays Queen Anne’s fragility to perfection; she stoops, shakes and shies away from responsibility – quite the opposite of Garai, who commandeers the stage and appears every inch the self-confident and manipulative figure that Sarah Churchill was.

Parodical songs performed by the wits at the Inns of Court offer a lighthearted (and rather crude) break between the more somber scenes shared by the two leading ladies.

All in all, this play succeeds in bringing a forgotten monarch to the forefront of people’s minds; the story is interesting and enjoyable, though perhaps not one of the biggest must-sees to hit the West End this year.

Approx. running time: 3 hours, including interval
Date attended: July 14
Understudies: none that I’m aware of
Closing date: September 30