THEGAYUK

Category: Theatre

  • THEATRE REVIEW | On Tidy Endings / Safe Sex, Tristan Bates Theatre

    ★★★★ | On Tidy Endings / Safe Sex, Tristan Bates Theatre

    Whose loss is it anyway? That’s the bone of contention between a gay man and a straight woman who meet to straighten up loose ends following the death of the man they both loved.

    The UK premiere of Harvey Fierstein’s one-act, On Tidy Endings, is a sometimes fiercely funny and finally poignant study of how the universal situation of losing a loved one takes on unique new qualities in the context of AIDS.

    Another short from Fierstein’s Safe Sex Trilogy, Safe Sex explores a relationship under strain in the early part of the AIDS crisis, with comic effect.

    Starring Deena Payne (Emmerdale, Calendar Girls) and CJ de Mooi (Eggheads), On Tidy Endings is a witty and well-written play which is a strong vehicle for Fierstein’s unique brand of irreverent humour with the killer one-liners and feistiness you’d expect from his work. It’s a cunning play, luring the viewer in with gentle humour and mild pathos, only to deliver some discretely timed knockout punches. Safer Sex is a more whimsical piece but still has merit and is entertaining, if slightly absurd in places. Anyone familiar with Torch Song Trilogy will see shades of Arnold in both Ghee, the over dramatic and neurotic partner and Arthur, the bereaved gay lover of Collin.

    Anyone who might be home at teatime may be familiar with C J de Mooi (a self-invented name, apparently meaning beautiful one!), the slightly pompous and prissy seeming figure, famous for a dramatic outburst on The Weakest Link and as quiz expert on Eggheads. Having seen him on TV, I was puzzled by the concept of him as a serious actor in the plays but managed to suspend disbelief and was pleasantly surprised. Whilst he’s not going to be winning any BAFTA awards any time soon, he managed to fulfil the roles adequately. Deena Payne and Cole Michaels as his co-stars, give strong and naturalistic performances which offset some of his limitations as a performer.

    The wealth of culture which came from the AIDS crisis is a great heritage and one which is well worth continually re-examining and reviving, especially in our more complacent times where HIV prevention is less prominent on the agenda. These two plays are well worth checking out.

    The production supports The Make a Difference Trust which raises money from the entertainment industry to support people living with HIV and AIDS. and those in the entertainment industry facing hardship as a result of living with long term conditions.

    The plays run until the 17th of May

    Buy tickets here:
    http://www.tristanbatestheatre.co.uk/safe_sex.asp
    Check out The Make a Difference Trust and their work here: http://www.madtrust.org.uk/

  • THEATRE REVIEW | Dirty Dancing, UK National Tour

    ★★★★ | Dirty Dancing, UK National Tour
    Set in the 1960’s, Frances “Baby” Houseman goes to Kellermans holiday camp with her family. She befriends the staff of the camp and develops a crush on charismatic dance teacher, Johnny Castle. But when Johnny’s dance partner cannot perform at a show at a local hotel, Baby steps in to ensure that they do not lose their jobs. But as Johnny and Baby rehearse, they fall in love and learn more from each other than just the dance moves.

    Based on the hugely popular film of the same name, Dirty Dancing hits the stage in this national tour. For the main, the show follows the story of the film very closely, particularly during the first act, with the bulk of the script being comfortingly recognisable from the film version. There are some additional scenes, particularly during the first half of the second act, which develops the story and which expands on both life at Kellermans and further explores the relationship between Baby and Johnny.

    The main cast members were surprisingly like their cinematic counterparts, in particular, Roseanna Frascona who played Frances “Baby” Houseman, throwing herself into the role whilst Lewis Kirk gave the best performance of the evening in the lead role of Johnny Castle, demonstrating some of the better acting and dance moves. The chemistry between the two leads worked well, although overall, the acting from the entire cast was not of the highest quality, and gave the impression that the cast were chosen for their ability to dance or sing as opposed to them being good all-round performers. That said, cast member Robin Lake’s singing voice stood out for his show-stopping version of In the Still of the Night. But the attraction of this show is not so much the quality of the acting but the dancing. All of the routines and set pieces were well put together, well executed and all handled more than competently by the cast, with many of the routines lifted directly from the movie.

    The show was packed full of all the songs you know and love from the film soundtrack, with combination of the orchestra performing on stage and some pre-recorded tracks. The soundtrack included Hey Baby, Love Man, Hungry Eyes and (I’ve Had) The Time of My Life along with the instrumentals such as De Todo Un Poco and Johnny’s Mambo. The set was versatile and effective, using backdrop projections and colour washes to separate out the scenes and locations and the scene changes were slick and undertaken smoothly and simply.

    But where the show really succeeds is in its ability to bring the movie to life and recreating it on stage. All of the familiar lines, plot points, dance routines and songs are there and there is something very comforting about watching such a faithful recreation of the movie. The show was fun and the feel-good ending had the crowd on their feet, shouting and cheering. For those who have not seen the film, the show is a good introduction to the world of Kellermans. To established fans of the film, the show will be hard to beat.

    The show is currently playing at Sheffield Lyceum Theatre until the (tickets and information can be found at http://www.sheffieldtheatres.co.uk/event/dirty-dancing-14/ ). The show then continues on its extensive national tour, details of which can be found at http://www.dirtydancingontour.com/

  • THEATRE REVIEW: A Spoon Of Sherman, St. James Theatre

    ★★★★ | A Spoon Of Sherman, St. James Theatre

    Billed as ‘The Songbook of Your Childhood’, this celebration of one of the world’s best-loved songwriting duos is so very much more than that; it is the songbook – nay, the soundtrack – to my life.

    The first Act opens with an Al Sherman medley. A prolific songwriter in the 1930s and 40s, Al Sherman wrote for Frank Sinatra, Bing Crosby, Billie Holiday, and many others. It’s very evident from hearing these numbers that such talent runs in the genes. His sons, Robert and Richard, would go on to continue this fine art for many years as The Sherman Brothers, and their songbook provides the main focus of the evening.

    The musicals the brothers are best known for fly in thick and fast – Mary Poppins, Chitty Chitty Bang Bang, The Jungle Book, Bedknobs and Broomsticks, The Parent Trap, Charlotte’s Web, Winnie the Pooh, The Slipper and the Rose, and so many more. Delightfully, A Spoonful of Sherman also includes some of their lesser-known, but no less delightful, back catalogue.

    The four singers – Greg Castiglioni, Stuart Matthew Price, Charlotte Wakefield and Emma Williams – are supremely talented and versatile, swinging with apparent ease between ballads and the more lively numbers; between comical and serious without a flinch. This is never more evident than the perfectly executed leap from The Jungle Book’s “I Wanna Be Like You” to “The Age of Not Believing”, from Bedknobs and Broomsticks.

    Now, I may be a little bit biased here (I hereby confess to a lifelong obsession with Chitty Chitty Bang Bang), but Emma Williams stands out for me. Partly because every time I see her, I remember the many trips I took to the Palladium while she played Truly Scrumptious in Chitty, but also because of her exceptionally sweet and clear voice. Her performance of “Mother Earth and Father Time” from Charlotte’s Web is beautiful and a definite highlight of the evening.

    A Spoonful of Sherman is hosted by the affable Robert J Sherman, the son of Robert B Sherman. An accomplished songwriter in his own right, we are treated to a few numbers from his musical, Bumblescratch, which workshopped in London last year. It is clear he has inherited his father’s, and grandfather’s, innate talent.

    And then, it’s here. As sad as it is to leave the rest of the evening behind, I hear a few distinctive notes which signal the start of the Chitty Chitty Bang Bang medley and the world melts away. It is everything I want it to be, and there can be no higher praise than that from such a devoted fan.

    All in all, A Spoonful of Sherman provides an entertaining insight into 90 years of songwriting history. In every note, this exquisite tapestry of song is an entirely fitting tribute, not only to the Shermans’ talent, but to the very art of songwriting.

    A Spoonful of Sherman plays at 19:45 on Monday 21 and Tuesday 22 April at the St James Theatre. Tickets are £18-£25 from https://www.stjamestheatre.co.uk/events/a-spoonful-of-sherman-2

  • THEATRE REVIEW | Relative Values, Harold Pinter Theatre, London

    ★★★ | Relative Values, Harold Pinter Theatre, London

    In 1951 at Marchwood House in East Kent, Felicity the Countess (Patricia Hodge) is anxiously awaiting the arrival of her son with his new fiancée.

    More distressed by the news of his impending marriage is her loyal maid, Moxie (Caroline Quentin). Realising that the soon to be new Countess of Marchwood is not just the glittering Hollywood star she portrays herself as, but her long lost and bitterly resented sister from Sidcup, Moxie decides she has to pack her cases and leave. Felicity can’t bear to lose Moxie and along with her decidedly camp nephew and butler Crestwell (Rory Bremner), hatches a plot to dress Moxie up and palm her off as a family friend.

    Trevor Nunn’s revival of Noel Coward’s Relative Values contains some great performances, a beautiful set and great staging, yet somehow fails to fully deliver. In spite of Hodge, Bremner and Quentin showing impeccable timing and great comedic talent, the play feels rusty and out of touch and apart from the occasional glimpse of Coward’s usual waspish humour, felt humdrum and like a weak farce with a nonsensical plot. When the humour shines through it works well and there are some brief moments of high camp humour.

    Mostly, however, the play feels decidedly antiquated and hasn’t stood the test of time well. Coward’s glittering set pieces of Hay Fever, Private Lives and The Vortex aren’t reflected well here with the play lacking the rapidly paced repartee and razor sharp wit that Coward is well known for. Coward’s output was prolific so it’s to be expected that there is likely to be a weak link or two in his catalogue of plays and this lacklustre farce has to be a low point.

    It’s definitely a privilege to see two great actresses, like Quentin and Hodge, with such talent for comedy together on one stage. It’s just a shame that the piece doesn’t consistently offer them the material they need to work with.

    Relative values runs at the Pinter Theatre until 21st of June 2014

    Buy tickets here: http://www.atgtickets.com/shows/relative-values/harold-pinter-theatre/

  • THEATRE REVIEW: The Archimedes Principle, Park Theatre, London

    ★★★★ | The Archimedes Principle, Park Theatre, London

    How safe are children in the care of strangers? How much do we know about the people we work with? How far would we go to protect ourselves?

    In a town that’s haunted by an incident at the nearby community centre regular swimming lessons come to a halt when a swimming instructor is accused of inappropriately touching a child during a lesson and the dangers of Facebook creep to the surface. When history appears to repeat itself what can people do but expect the worst?

    This intense one act play by Spanish writer Josep Maria Miró i Coromina is set entirely in the changing room of a swimming pool. Buff and outwardly wholesome young swimming coach Brandon is about to have his world torn apart as his troubled boss, Anna, corners him and his colleague, Matt to talk about a complaint from a parent.

    The play was an award winning triumph in its native Spain, playing to sell out houses. It is certainly challenging and thought provoking and yet still manages to be entertaining and fast paced. The action flips about through time, moving skilfully backward and forward through the events of one day; a device which works well in telling the entirely believable story.

    Credit goes to the four actors especially the two younger men, Lee Knight and Matt Bradley-Robinson. Knight is particularly compelling as Brandon, a cocky hunk with a six-pack who hides vulnerability and maybe some darker issues. Bradley-Robinson is utterly believable as his slightly gauche and less confident colleague.

    The script feels tight and rarely falters and the subject of how we deal with letting children be cared for by strangers without living in fear feels like a relevant and important subject to tackle. The flip side of how adults behave when around children in an anxious society is another thorny issue.
    The play runs until 11th of May

    Book tickets here: http://parktheatre.co.uk/whats-on/archimedes-principle/about

  • THEATRE REVIEW | King Charles III, Almeida Theatre

    ★★★★ | King Charles III, Almeida Theatre
    Queen Elizabeth II is no more. Long live the King! Prince Charles has long courted controversy, offering his opinions about political matters, the environment and been the victim of press intrusion. How will he take on the mantel of power after a lifetime waiting in the wings, especially when the first task is to sign off a bill limiting the powers of the press? How will the younger royals react to his reign? More importantly, what will become of the nation?

    Mike Bartlett’s future history play about the reign of King Charles is an unusual but effective piece of thought provoking comedy. Written in a Shakespearean style with dialogue in cod blank verse and abundant soliloquys. Shakespearean tropes abound too: the whispering ghost casting a shadowy figure across the stage (Princess Diana, complete with head tilt, of course), the scheming, ambitious wife (Catherine Duchess of Cambridge) and the foppish fool (Prince Harry).

    The recognisable characters of the modern soap opera family that is the Windsors are instantly recognisable yet the cast manage to give them depths and motivations that the viewer wouldn’t always expect. Tim Piggott-Smith portrays Charles as a principled man; misguided and idealistic at times but wise at others, with an underlying crisis of confidence bubbling beneath the surface. Lydia Wilson is spellbinding as Kate and Richard Goulding’s Harry, bewitched by a Republican commoner from South East London, is magnificent. Handsome Oliver Chris is a revelation as a William who is less effete than he initially appears.

    Rupert Gould has managed to stage the play as a haunting piece of modern theatre that is watchable and compelling yet also informative and highly relevant to our times. This is a hilarious play that is quite an exceptional piece of theatre following on from the Almeida’s recent run of stand out pieces.

    I suspect that this play will go on to huge success and acclaim and wouldn’t be surprised by a West End transfer. Now might be the time to catch it in the intimate space of the Almeida that lends itself so well to this production.

    King Charles III runs until Saturday 31st of May

    Buy tickets here: http://www.almeida.co.uk/event/kingcharles

  • THEATRE REVIEW | Three Sisters, Southwark Playhouse

    ★★★★★ | | Three Sisters, Southwark Playhouse

    Three sisters are living in a vast house three thousand miles from home, longing for different forms of escape as they languish in the Middle East.

    Overworked and highly strung English teacher, Olga, yearns for the romance she hasn’t been able to find, as she’s acted as the maternal figure for her younger siblings following the death of their parents. Wild and sullen Masha regrets a hasty marriage to a man she looks down on as a fool and idealistic Irina dreams of returning to England and escaping the boredom of life in an ex-pat community. Meanwhile their brother, Andrey, is failing to live up to his early promise as he contemplates an unsuitable marriage to someone brash and vulgar and is threatening to bring them to ruin with his dissipation.

    Tended to by two elderly servants, they rattle around their huge property. Hard drinking, hidden desires and deceit abound as the siblings spar with each other, fend off the outside world and unwittingly welcome in turmoil and chaos in the shape of a trio of soldiers, far from their homes also, and an old family friend with issues with drink and brutal frankness.

    Anya Reiss’ skilful reworking of Chekov’s classic 1901 play brings it bang up to date into the 21st century and proves what a witty and skilled observer of human nature the author was. Language and situation may have changed radically in over a hundred years but motivations and desires haven’t. The complex plot is retold beautifully and with panache.

    This play certainly packs a punch with breath-taking performances, a versatile and well-utilised set and a well paced dramatic arc. Southwark Playhouse has managed to pull off an astounding piece of theatre. The cast are particularly strong with knock out performances all round.

    If you’re a Chekov fan then this won’t disappoint. If you’re new to Chekov’s work then you couldn’t get a much finer introduction than Reiss’ reworking. This has to be one of the must see plays of the spring.

    Three Sisters is on at Southwark Playhouse until the 3rd of May 2014

    Book tickets here: http://southwarkplayhouse.co.uk/index.php/the-large/three-sisters/

  • THEATRE REVIEW | Orton, Above The Stag

    ★★★★ | Orton, Above The Stag
    One of the great things about London is that you don’t have to go to the West End and pay huge amounts of money to witness great theatre. We have a thriving Fringe theatre, which can on occasion reap rich rewards, as it is presently doing at the tiny Above The Stag theatre in Vauxhall, presently the home for a brand new British musical, Orton based on Joe Orton and Kenneth Halliwell’s intense and ultimately tragic 16 year relationship.

    If you know anything of Joe Orton’s untimely demise, you might think that this would be a dark, gloomy musical, but it is in fact sublimely funny in places, delightfully entertaining and full of that wicked sense of humour that permeates all Orton’s plays. There’s no getting away from the grisly ending of course and Act II is certainly darker than Act I, but, even here, the introduction of the character of Kenneth Williams (brilliantly played by Simon Kingsley) lightens what could have been a turgid descent into tragedy and his wickedly Carry On inspired “Form An Orderly Line” received the biggest ovation of the night.

    At heart, though, this is a love story. Like many others, no doubt, I have often wondered why Orton stayed with Halliwell, when the relationship broke down, and the writes takes the view that Orton, deep down, did love Halliwell. It is also a story of colliding values, Halliwell’s rooted in the past; Orton’s more revolutionary and progressive. He was very much ahead of his time, making no apologies for his love of casual sex with labourers and the like in various public conveniences around London. This actually leads to one of the funniest numbers in the show, “Another Night Another Man”, which is brilliantly and hilariously staged by choreographer Phillip Aiden, making clever use of designer Andrew Holton’s multi-door set.

    Richard Silver’s musical numbers, if not especially memorable, always serve the action and move it forward as they should, and his lyrics are full of the kind of witticism that Orton himself would no doubt be proud of. One slight miscalculation was the inclusion of a song for Mrs Cordon, Orton and Halliwell’s neighbour. It is a lovely ballad, sung beautifully and touchingly by Valerie Cutko (who also puts in a terrific performance of Peggy Ramsay, Orton’s agent), but I question the wisdom of including so late in the show, when one feels the action should be moving inexorably towards its tragic denouement, a song for what is after all a minor character.

    Another was the inclusion of an on stage chorus while Halliwell was having his final breakdown. Though musically it works, I would have had them sing off stage, as if they were presumably voices in his head. Their presence on stage, especially in such a small space, is distracting.

    That is the only question mark I would place over Tim McArthur’s direction, whose pacing of Sean J Hume’s masterly book was always sure and apposite. He also gets wonderful performances from his two leads. Richard Dawes is careful to show the connection between Orton’s wide eyed curiosity at the beginning to his lust for life as he matures, while Andrew Rowney’s insecure Halliwell sows the seeds of his later madness from the moment of his initial obsession with Joe.

    In the movie Prick Up Your Ears, Orton says, when picking up an award, “ My plays are about getting away with it, and the ones who get away with it are the guilty ones. It’s the innocents who get it in the neck…… I’ve got away with it so far – and I’m going to go on;” words that turned out to be anti-prophetic.
    However Above The Stag have got away with it. They undoubtedly have a hit on their hands.

  • THEATRE REVIEW | Fame, Sheffield Lyceum and National Tour

    ★★★ | Fame, Sheffield Lyceum and National Tour

    Based on the film and classic TV series, Fame follows the trials and tribulations of a group of young students studying at the New York School of Performing Arts as they hone their skills in music, dance and acting, as well as falling in love, clashing with the establishment, battling personal demons and dabbling in the dark side of fame.

    The show follows a small group of students from first meeting to graduation, looking at the challenges they face in their academic studies, their artistic studies and their personal lives. Issues such as drug use, love, sexuality and illiteracy are all canvassed as the friends make their way through their time at school.

    The first thing that was noticeable was how the show did feel very fresh and had been updated completely for the 2014 tour. There were iPad’s, mobile phones and references to Katy Perry, Bruno Mars and Rhianna aplenty and the show looked and sounded bang up to date. The variety of musical styles and the vocal gymnastics reflected the modern setting and the dance routines covered a wide variety of styles, from hip hop and street dancing to classical ballet and a flamenco inspired number.

    The show boasts around 20 songs which flow in rapid succession giving the show more of a feel of a musical revue than a piece of musical theatre. The opening number “Pray I Make/Hard Work” set the tone of the show nicely and was modern and contemporary. “Tyrone’s Rap” and “Dancin’ on the Sidewalk” were up-tempo numbers, both of which were infused with a display of hip hop and street dancing. But the standout song was saved for the finale, with “Bring on Tomorrow” being a traditional rousing conclusion to the proceedings which was well performed by the ensemble.

    The cast were multi-talented, with the whole ensemble being able to sing, dance and act, with some even playing multiple musical instruments. The most notable members of the cast were Alex Thomas, who played dancer Tyrone, and who danced a variety of styles with ease and naturalness. Joseph Giacone was in fine voice and entertained as the hormonally challenged Joe Vegas, putting in a comedic and enthusiastic performance, nowhere more evident than in his musical tribute to his overactive “little Joe”. Molly Stewart also put in a great turn as the underdog, Mabel Washington, and surprised everyone with her powerful voice in a soulful, gospel inspired number.

    The set was fairly bland, with very little by way of scenery, set changes or props, but it did provide for a space for a live band on stage, which added to the musical revue feel of the piece. The story itself was fairly thin but was functional. There was little in terms of character development, but this did not come across as a show which was about an in depth story – the attraction here was the music and the well-choreographed set pieces of a variety of dance styles.

    The show hits the mark for its target audience and is theatre for a younger generation. It was fun, vivacious and energetic. Fame thankfully doesn’t take itself too seriously and never attempts to be anything other than what it is, which is a fairly shallow but fun and undemanding piece of entertaining song and dance.

    Fame is currently playing at the Sheffield Lyceum Theatre until the 5th April 2014 before continuing on its national tour

  • THEATRE REVIEW | Philip Pullman’s Grimm Tales, Shoreditch Town Hall

    ★★★★ | Philip Pullman’s Grimm Tales, Shoreditch Town Hall

    This immersive retelling of some of Grimm’s best-loved fairy tales, alongside a couple of less well-known ones, is an extraordinary journey through a world that is both familiar and intriguing.

    The characters find themselves in the basement rooms of Shoreditch Town Hall many years after their tales took place. They have entertained themselves by retelling their stories and invite you to join them as they do so.

    We gather amongst mysterious hooded figures in the entrance hall before Red rushes through, urging the crowd to follow her as she leads us down into the bowels of East London. Each simply-decorated room has been magically transformed to evoke a sense of suspense and wonder, but the attention to detail doesn’t stop there.

    Between performance rooms, the corridors are decorated and secret doors hide uninhabited but furnished rooms, all of which lead the mind through many more of Grimm’s tales as if those characters are residents too. The stories themselves are told in a simple manner which allows the characters to live in our own imagination as brightly as those we see before us.

    The storytellers themselves are Ashley Alymann, Sabina Arthur, Rebecca Bainbridge, Annabel Betts, James Byng, Paul Clerkin, Lindsay Dukes and Simon Wegrzyn and there really isn’t a weak link amongst them. Each holds a particular charm in their storytelling manner and an incredible ability to lead you deep into your own imagination.

    However, there is one in particular who shines through as truly exceptional. Simon Wegrzyn plays a thoroughly captivating Wolf, with a look in his eyes that is altogether as dark and conniving as the character he inhabits. Later in the evening, his Hans-My-Hedgehog is a world away from the wicked Wolf, but every inch as captivating and performed with a delightfully humorous sensitivity.

    Hans My Hedgehog is a peculiar tale, and not one I had come across previously. Half-boy half-hedgehog, Hans is disowned by his father so rides his cockerel to the woods, where he lives in a tree playing bagpipes to pigs (as you do).

    Philip Wilson has adapted Philip Pullman’s Grimm Tales: For Young And Old in a manner which remains true to the author’s collection whilst allowing the stories to exist in an entirely new form. Together with Tom Rogers (set and costume), Howard Hudson (lighting) and Richard Hammarton (sound), he has created a wonderful, wondrous world where fiction really does meet reality.

    To experience this magical fairytale world for yourself (and it really is worth doing so), head over to www.grimm-tales.co.uk and book yourself a trip to Shoreditch before 24 April.

  • THEATRE REVIEW | Dark Vanilla Jungle, Soho Theatre

    ★★★★★ | Dark Vanilla Jungle, Soho Theatre

    Andrea keeps getting asked if she’s ashamed.
    Ashamed of what she did to the soldier.
    Of what she did to the baby.
    But Andrea’s not ashamed at all.
    And she wants to tell you why…

    Dark Vanilla Jungle is a powerhouse of a play by award-winning playwright Philip Ridley and stars the amazing Gemma Whelan (Game of Thrones, One Man Two Guvnors).

    Andrea enters onto a bare stage and starts to interact with the audience telling them her story. Initially nervous and shy, she presents her tale with a naïve charm and gaucheness that is achingly funny but mildly alarming. As Andrea’s story progresses there are hints of what’s to come and her nervous shyness turns to an increasingly frenetic and angst-ridden tirade that is breath taking, heart breaking and lyrical. Ridley’s use of language and ability to tell a multi-layered story is pure genius, much like his previous works “Tender Napalm” and “The Fastest Clock in the Universe”. Ridley is a writer at his peak.

    It’s rare that theatre is this affecting and cathartic with the audience taken on a compelling roller-coaster journey that left them bemused, amused, horrified, shaken and perturbed. Viewing this play isn’t a light experience but nor is it one that feels turgid or heavy-handed, instead being fast paced and thrilling. Although dark themes lie at the heart of the play, there’s an uplifting quality to the frenetic pace too and Andrea’s horrific experiences become something that you accept and forgive, understanding just why she isn’t at all ashamed about what she did.

    A huge credit for the power of the piece lies with actress Gemma Whelan who gives a staggering performance that is a sight to behold. The audience are left wondering quite how one actress can give so much and feel exhausted for her.

    The Soho Theatre has proven once again that it is right at the heart of innovative new theatre after a string of recent hits. This is an absolutely brilliant experience not to be missed.
    Dark Vanilla Jungle is on at Soho Theatre until the 13th of April

    Book tickets here: http://www.sohotheatre.com/whats-on/dark-vanilla-jungle-2014/