THEGAYUK

Category: Review

  • THEATRE REVIEW | Beautiful: The Carole King Musical, Glasgow

    ★★★★☆ | Beautiful: The Carole King Musical

    **This review was taken from the Sheffield date**

    During the 1960’s Carole King was part of one of the most successful songwriting partnerships of the era, writing hits for The Shirelles, The Drifters and Little Eva; leading to success with songs including “Will You Still Love Me Tomorrow”, “The Loco-Motion”, “(You Make Me Feel Like) a Natural Woman”, “You’ve Got A Friend” and “I Feel The Earth Move”.  But behind the success was a personal struggle for King in trying to make her marriage with Gerry Goffin, her philandering husband and songwriting partner, work; and it is her rise to the top and her troubled home life which form the backbone of the story for this musical biopic.

    Beautiful really stands apart from the usual jukebox musical/musical biopics, given the quality of the writing, presentation and performances. The narrative absorbs you straightaway; and there is an abundance of instantly likeable characters, a wonderfully sharp script filled with warmth, humour and personality and a lighting design which really does bring the stage to life, making it feel bright, bubbly and brimming with energy.

    But the quality was not reserved only for the look of the piece, but extends to its rather talented cast members. Bronte Barbe was delightfully charismatic as Carole King, projecting a powerful voice without ever having to force a note; and exuding a natural and believable on-stage chemistry with Kane Oliver Parry as King’s husband, Gerry Goffin. Amy Ellen Richardson and Matthew Gonsalves bounced off each other nicely as the bickering Weil and Mann; and the entire cast, including the ensemble, all stepped up the plate in terms of their vocals, alongside some incredibly competent acting, giving rise to very believable performances across the board.

    The first act, detailing King’s success within the music industry, brings with it a barrage of 17 musical numbers which are performed with flair and vigour; whilst the second act is slightly more downbeat and more drama focussed, as the decline of King’s marriage and her growth into a solo artist are depicted.

    Although you may not have heard of Carole King, her music is embedded into popular culture, and with the number of songs that you immediately recognise adorning the stage, you realise just how much of an influential songwriter King really was. Ultimately, this is a story of love, hope and determination, and a production which rises above the usual jukebox musicals with a set of strong central performances, in particularly Bronte, and a polished, professional and quality feel.

    Beautiful is at the King’s Theatre, Glasgow until the 17th February 2018

    The show then continues on its national tour until 23 June 2018. Click here to book tickets.

  • THEATRE REVIEW | Fat Friends The Musical – Sheffield

    ★★★☆☆ | Fat Friends The Musical

    As her wedding day approaches, Kelly buys her dream wedding dress, even though it is two sizes too small for her.

    When Julia Fleshman, the head of a national slimming club chain, comes to town to judge a slimming contest live on TV, Kelly ends up going viral with her body confident comments; and seizing the opportunity for some publicity, Fleshman offers to pay for Kelly’s wedding if she can slim into the dress in time for the big day. But with the wedding only six weeks away, the pressure is on…

    Fat Friends is very much a piece of crowd-pleasing theatre. Pulling together multiple stories of the good folk of Headingly, a town near Leeds, the stage is filled with likeable, if slightly caricatured, characters and is a straightforward evening of undemanding fun.

    The show boasts a good cast, with Jodie Prenger taking the lead as Kelly, and doing so with a cocky northern confidence and a belting singing voice. Sam Bailey (The X-Factor) is great as Kelly’s Mum and Natasha Hamilton (from Atomic Kitten) is the scheming Julia Fleshman. Thrown into the mix is an affable turn from Kevin Kennedy (Coronation Street) and ex-cricketer Andrew “Freddie” Flintoff, who takes to the stage and fares better than expected with a slightly stilted, if not tongue in cheek, portrayal of Kevin, Kelly’s nice but dim fiancé.

    The songs are amiable enough and used to move the story forward, and whilst they were perfectly pleasant to listen to and shoehorned a few laughs into the lyrics, they served their purpose well enough in terms of keeping up the show upbeat and jolly, but were ultimately fairly forgettable. The live orchestra added to the atmosphere within the theatre and the set design was a colourful cartoonish affair which was well lit and effective in its simplicity.

    Written and directed by Kay Mellor, who wrote the original TV series that the show is based on; Fat Friends is a rather loud, boisterous and upbeat show, which really resonates with its target audience. It’s a rather clichéd musical by numbers, with a heavy-handed script, fairly trite lyrics and a rather unsubtle approach to its humour, but what it lacks in sophistication, it makes up for with likeable characters, a few good belly laughs and buckets-full of near the knuckle, northern charm.

    Fat Friends is currently playing at Sheffield Lyceum Theatre until the 17th February 2018 (www.sheffieldtheatres.co.uk) before continuing on its national tour until the 2nd June 2018. Visit the show’s website at www.fatfriendsthemusical.com for details.

  • CAR REVIEW | Range Rover Evoque Convertible

    Range Rover Evoque Convertible

    You don’t really associate Land Rover with wind-in-the-hair motoring unless you’re a farmer with a Defender 110. Sadly for the farming industry, the Defender was pulled from the production lines in 2016 and as of yet there is no serious replacement.

    For those needing an open aired Land Rover, there is always the Range Rover Evoque convertible. Admittedly it isn’t as rugged as the old defender and with prices from £53,000, you’re also not likely to throw a poorly sheep into its leather covered upholstered cabin either. In actual fact, you’ll be glad this isn’t as rugged as an old Defender. I’ve been wanting to test one of these since I saw it so come on Barbie, let’s go party!

    OK, let us be honest, no one is seriously going to buy one of these for the day to day running of a farm. If you yourself are however looking for a 4 seater SUV styled car with a missing roof then this could be the car for you. In fact, it’s not exactly got much competition. Come to think of it there isn’t much out there at all in the drop-top segment except roof chopped hatchbacks from the Germans. So the Range Rover Evoque wins. Put the roof down, let’s go home.

    Not so fast. This still has to please the buyer. Ask a group of road testers and this single car will divide a group. Call it Marmite if you will, you’ll either love it or hate it. There doesn’t seem to be any in-betweens. I am happy to say that this tester, in particular, was pleased as punch with it. I rather liked it. Actually, I liked it a lot.

    For a start, it is a full convertible. Press the button and everything overhead disappears into the boot area leaving just the windscreen in front of you. Everything else is gone. Annoyingly all the windows disappear too. I’ve never worked out why manufacturers think we all want the windows down when the roof comes off? Range Rover has thoughtfully given us a switch to override all the window buttons and make the main switch lift or raise all the windows in one go.

    On the open road with the roof down not only does it open the cabin to the elements but also your senses. I’d forgotten how you suddenly hear everything around you. It’s like driving with your hearing turned to 11. Your senses will also pick up on on the dynamic change of the vehicle when compared to its hardtop sibling. Its over two tons of weight are evident though, not without good reason. There is thankfully very little scuttle shake.

    Suddenly I noticed that the buffering over the shoulder you get from most convertibles was missing. Any car that has a roof missing often results in a cold draft coming over you from behind. On a hot day, it is quite cooling. On a day like our test day, it wouldn’t have been. It was cold and wet. In actual fact, it was VERY wet. The small wind deflector did a good job.

    Cabin controls are nicely laid out and it didn’t take long to work out where the heated seat and heated steering wheel buttons were.

    Along with the more than adequate heating and all its vents, it was easy to drive with the top down in the coldness. This was a great comfort for what happened next.

    NEXT: What happens when you drive in the rain?

  • THEATRE REVIEW | Beautiful: The Carole King Musical – National Tour

    ★★★★☆ | Beautiful: The Carole King Musical


    During the 1960’s Carole King was part of one of the most successful songwriting partnerships of the era, writing hits for The Shirelles, The Drifters and Little Eva; leading to success with songs including “Will You Still Love Me Tomorrow”, “The Loco-Motion”, “(You Make Me Feel Like) a Natural Woman”, “You’ve Got A Friend” and “I Feel The Earth Move”.  But behind the success was a personal struggle for King in trying to make her marriage with Gerry Goffin, her philandering husband and song writing partner, work; and it is her rise to the top and her troubled home life which form the backbone of the story for this musical biopic.

    Beautiful really stands apart from the usual jukebox musical/musical biopics, given the quality of the writing, presentation and performances. The narrative absorbs you straightaway; and there is an abundance of instantly likeable characters, a wonderfully sharp script filled with warmth, humour and personality and a lighting design which really does bring the stage to life, making it feel bright, bubbly and brimming with energy.

    But the quality was not reserved only for the look of the piece, but extends to its rather talented cast members. Bronte Barbe was delightfully charismatic as Carole King, projecting a powerful voice without ever having to force a note; and exuding a natural and believable on-stage chemistry with Kane Oliver Parry as King’s husband, Gerry Goffin. Amy Ellen Richardson and Matthew Gonsalves bounced off each other nicely as the bickering Weil and Mann; and the entire cast, including the ensemble, all stepped up the plate in terms of their vocals, alongside some incredibly competent acting, giving rise to very believable performances across the board.

    The first act, detailing King’s success within the music industry, brings with it a barrage of 17 musical numbers which are performed with flair and vigour; whilst the second act is slightly more downbeat and more drama focussed, as the decline of King’s marriage and her growth into a solo artist are depicted.

    Although you may not have heard of Carole King, her music is embedded into popular culture, and with the number of songs that you immediately recognise adorning the stage, you realise just how much of an influential songwriter King really was. Ultimately, this is a story of love, hope and determination, and a production which rises above the usual jukebox musicals with a set of strong central performances, in particularly Bronte, and a polished, professional and quality feel.

    Beautiful is at the Sheffield Lyceum Theatre until Saturday 10th February 2018. For details and tickets visit www.sheffieldtheatres.co.uk.

    The show then continues on its national tour until 23 June 2018. Click here to book tickets.

  • Hand Luggage With A Difference, reviewing the Brompton Bicycle

    ★★★★☆ | Brompton Bicycle

    Now that 2017 is out of the way and those new year’s resolutions that sounded so promising at 00:03 on January the 1st 2018 have all but faded we now need to look at 2018. What better way to kick-start a fresh fitness regime in February than on two wheels.

    There is a lot of buzz about the London built Brompton bicycle. Everyone who owns one loves them. Some people have more than one. It’s almost as iconic as the Fiat 500 or Citroën 2CV.

    The one we have for testing is the H6L Black Edition with an orange main frame. Made with various components painted black for a sleek urban look, it is available, in a choice of four colours and only available at selected dealers worldwide.

    For its £1340 asking price, you don’t feel like you get much for your money. To be fair I choked a little on that myself. It was only when I started using it that I discovered that it makes for good value for money. The most obvious plus is that you can take it with you almost everywhere. It folds neatly and can go under the table. And at 12.3 kg, it is hardly weighty. In simple terms, it’s 12 bags of sugar or two of my nieces at birth.

    Seems I am a little out of touch with bicycle purchasing these days. The last time I bought one back in 1996 it was a red mountain bike, 21 speed, alloys. Done. The Brompton has an options list to rival that of the Jaguar XF, well sort of. These bicycles are not your standard run of the mill ‘off the shelf’ at your local bike shop variety. Buy one from eBay and what you save in a few pounds you lose in personalising. For me buying a Brompton would be personalising it for me. It’s a personal purchase.

    The bonus of the Brompton is its folding ability into medium sized hand luggage. Folding bikes are not new. However, the way the Brompton folds up makes it ideal for the city commuter and for those with limited space. It means you don’t have to leave it locked up at the train station where inevitably you’re likely to get bits removed or worse still, the entire thing stolen, meaning you have to walk home alone in your spandex.

    The actual folding is genius. If you believe the joyous craziness of Anna Rampton played by Sarah Parish on BBC 1’s brilliant W1A you’d be thinking it was a feat of high IQ just to fold it up. In actuality it is no more than a tug, two clamps, an unfold and a pull. It’s all mainly down to the seat post that holds it all together, absolutely, yes, genius, no, there we go. Amazing. In a W1A kind of way.

    I was so exciting taking it out of the box for this review that I almost forgot that I had to ride it. Now here comes the crux of the problem. I’ve not ridden a bike for about four years. Admittedly you don’t forget how to ride one. What you do forget is that it takes lung capacity and leg power to make the thing go forward.

    After the initial “oh my Christ my LUNGS”, shock and getting past the first ‘burn’ it is actually quite easy to ride. Far easier than my 21-speed mountain bike. Over the course of the week doing around 4 miles a day, I got better and better. The 6-speed gear option for £175 is money well spent. There are two, and 3-speed options and should your commute be based in central London then the saving of £70 might be advisable. As it is, I have various degrees of terrain where I live so the six was more than ideal.

    The gears consist of three main gears in the rear Sturmey-Archer hub with an extra choice of two on the geared cog making it 1-3 and 4-6. I found 2 and 5 were best suited to me with one being more than ideal when I wanted to be both lazy and slow. It’s mostly suited for hill climbing.

    Other options abound include splash guards. I do recommend the large £55 set. They did a great job in preventing mucky spray up my back and over my trainers. Riding through puddles was quite fun. Just watch out for those potholes. The one Achilles heel is those small wheels. For all their benefit of manoeuvrability tighter than a London Taxi, they are somewhat susceptible to jolting you when you hit the pots. Thankfully its seat is quite well padded and cushioning of one derrière. You’ll be surprised at how much energy is wasted with a seat that is too soft. Your thigh muscles altering all the time make for early fatigue.

    There are 13 different types of bag to go with your Brompton. I was sent the reflective O bag for £220. It’s an expensive option I’ll grant you. Cycling shouldn’t just be for health and commuting.

    It is immensely practical and big enough to carry more than you’ll need for a picnic in the park. I managed to load it up with all I would need for a party in the park. When it comes to storage, this bag was like that of Mary Poppins. It also doubles up as a shoulder bag with two open pockets to the side. Ideal for quick access to refreshments or baguette carrying.

    With all the personalisation that you can spend on the Brompton, I do have one problem with it. Ergonomically their set up might be for the best but I for one like my brake levers just a little more horizontal. To do this will prevent it from folding up and besides, there isn’t enough slack in the gear and brake cables to allow this. The folding tolerances like the build quality are tight and precise.

    It’s nicely put together and the skill and engineering that goes into each and every one made shows this is more than just a posh bike with a designer price tag.

    The Brompton will never replace the mountain bike. The Brompton isn’t designed to do that. It does make for an ideal city tourer bicycle. It’s difficult to explain this next bit because it doesn’t take much effort to propel it forward. It’s quite relaxing to use and this makes it ideal as a work commute machine. Nothing worse than getting into work with a sweat on. It might not, however, fit under the boot of your midlife crisis sports car as I discovered, though it will fit into the boot of any hatchback so there is no need to fit a boot suspended bike rack.

    I’m sold on the idea of the Brompton. It’s small storage requirements are a boon. It fits into your life quite easily. There is even a good network for spares and repairs and a huge cult following. It doesn’t take long to get to know others with one. It’s just that price tag I have a slight problem with. If they were that cheap however then everyone would have one.

    Oh hang on, they do. And that tells you something. They really are THAT good.

  • THEATRE REVIEW | Hairspray, Sheffield Theatres

    ★★★★☆ | Hairspray – Sheffield Theatres

    Set in Baltimore in 1962, Tracey Turnblad is a big girl with a big heart, big dreams and even bigger hair. Tracey (with her best friend, Penny, in tow) cuts school one afternoon to audition to be a dancer on The Corny Collins Show, her favourite daytime TV programme. Despite the best efforts of Velma Von Tussel, the show’s producer, Tracey is chosen to be the new dancer; but when Tracey learns that her black friends aren’t allowed to dance with the white kids on the show, she sets out to change things once and for all. But can Tracey unite black and white on TV, win the hand of her heartthrob and fellow dancer, Link Larkin, and walk away with the Miss Teenage Hairspray Pageant crown?

    Based on the 1988 John Walters film, this is a colourful and energetic production which ups the camp value and fun factor to create a feel good, crowd-pleasing musical with a strong underlying message about social inequality.

    Matt Rixon pleases as Edna Turnblad, and bounces nicely off Norman Pace as Wilbur; whilst Brenda Edwards (X-Factor) belts out the tunes as Motormouth Maybelle and manages to nail her big number with ease. Rebecca Mendoza makes her professional debut as Tracey Turnblad, and despite some unnecessary gurning and an overly squeaky American accent, gives a competent performance, although one which would have showed her talents far better if her direction was reined in slightly, allowing the role to be played with a straight bat. The remaining cast provided for a spectacular ensemble, filling the stage to the brim in the musical numbers, and bringing with them an infectious enthusiasm.

    Featuring the songs “You Can’t Stop The Beat”, “Good Morning Baltimore”, “Welcome to the 60s” and “I Know Where I’ve Been”, the numbers come thick and fast, and are catchy, upbeat and instantly likeable. The dance routines are full of energy and ensure that there is always plenty to look on the stage, whilst the lighting and costume designs flood the stage with colour, adding to the pop-bubblegum feel of the piece.

    Utterly engaging and utterly enjoyable, Hairspray is a musical treat which is so much fun that you will find it hard resist its charms.

    Hairspray is at the Sheffield Lyceum (www.sheffieldtheatres.co.uk) until Saturday 3rd February 2018 before continuing on an extensive national tour until 4th August 2018. To book tickets click here.

     

  • THEATRE REVIEW | Mary Stuart, Duke of Yorks Theatre

    ★★★★★ | Mary Stuart, Duke of York’s Theatre

    Two queens fighting to the death. No, not Vauxhall on a Saturday but a fascinating slice of Elizabethan history. Mary Stuart seeks refuge in England only to be imprisoned by her cousin, Queen Elizabeth the 1st, as a potential threat to the English throne. Mary anxiously awaits her fate whilst Elizabeth tortures herself deciding the best course of action. Sounds dry, fusty and irrelevant? Not in the slightest in this bold and modern update on Schiller’s play.

    Robert Icke is a director who can breathe extraordinary new life into works. His versions of Hamlet, 1984 and Uncle Vanya (to name a few) have garnered awards and shown his skills. Here, he’s taken the text, staging and costume and made it feel thoroughly modern and relevant. There’s barely a ruff in sight and the dialogue feels like something you might eavesdrop upon in Parliament in 2018.

    Two top UK actors take the lead roles, Juliet Stevenson and Lia Williams (currently to be seen in Kiri and The Crown). There’s a gimmick but it’s one with no hint of tackiness. Both actors switch roles depending on the results of a tossed coin at the start of the play. It’s a tense moment for both the actors and the audience as the two face off on stage and await their role allocation.

    All in, it’s a riveting three hours. The stripped back set, pared back dialogue and emotional intensity combine with two killer performances to make this a nail-biting experience. It’s a fine example of top acting in a top production that also remains entertaining.

     

    Mary Stuart runs at the Dukes Of York’s Theatre until 31st March 2018

  • THEATRE REVIEW | Dietrich: Natural Duty

    ★★★★★ | Dietrich: Natural Duty

    Described as a one (wo)man show, Peter Groom’s take on legendary teutonic beauty Marlene Dietrich is literally breathtaking at points. There’s an uncanny likeness between him and the screen goddess with his cat-like cheekbones and arched brows. He’s clearly spent a vast amount of time studying her mannerisms and speech too as he captures every wink, every drag on a cigarette and each sultry gaze. There’s something uncanny about his appearance that makes you feel that you’re anywhere but in the Vaults which is essentially a dank series of tunnels under Waterloo Station. The bare brick and smoky interior is entirely appropriate with it’s underground club feel.

    Groom has written a witty show with a touch of pathos based around Dietrich’s wartime experiences. It was a stark choice for her as she made the decision to leave behind her beloved mother along with her mother country and flee to America. Taking on the role of ‘Captain Dietrich’ she entertained and supported the troupes and saw first hand some of the horrors of war.

    The show is based around a saucy cabaret performance with Groom slinking on in a spectacular gown and rasping out some of Dietrich’s songs. Heckling by a reporter makes her pause and reluctantly answer some probing questions. Not only is Groom a fabulous mimic but he’s also a deft and skilled writer as the script lurches between camp comedy and deep sadness. This is an absolute tour de force. If you can catch this tonight or tomorrow then get down to the Vaults Festival. If not then keep your eyes peeled as this is a show that’s sure that make a return.

    Dietrich: Natural Duty runs at the Vault Festival until 28th January 2018

     

  • Six things we loved about Oranges and Elephants, Hoxton Hall

    ★★★★☆ | Oranges And Elephants

    An all-female musical has opened in London, Oranges and Elephants

    1) The story. Set in Victorian London and there’s a turf war between two all-female rival groups, the Oranges and the Elephants, led by two fierce women and their battle to reign supreme. Plot: Get two sparring gangs, in a Victorian setting, throw in a newbie (a brilliant Sinead Long (Mary)) to the city, a quick lesbian romp, dressed it all up in drag king goodness conclude with an ending even Shakespeare would be proud of and you’re close to why Orange And Elephants is the most exciting musical to open in London in an age.

    2) The lack of men.  This show simply doesn’t need us menfolk. We’re not missed. At all.  So yeah, f*ck the patriarchy. The cast’s observation of masculinity and, well, frail masculinity at that, is superb. A special mention to Rebecca Bainbridge, whose gangster, Ada (Oranges), is frankly beyond scary and you won’t find a more vicious matriarch than Liz Kitchen’s Annie, leader of the Elephants.

    3) A new musical… At last a new musical that isn’t a jukebox musical. All new music and perfectly suited to the piece. It is ballad heavy but there are a few rousing gems from Jo Collins’ score. The entire cast gets involved with playing the instruments and acting without it feeling forced, and there’s also audience participation, expertly carried through by our narrator. Oh, and BTW, it’s funny. Very funny.

    4) Costumes. Some of the best costumery (Sara Perks) we’ve seen in a long time and while we’re at it, a special mention to the set design. Simple but incredibly effective. You won’t look at an A to Z in the same way again… (for those who just asked, what’s an A to Z, think Google Maps but on paper).

    5) Hoxton Hall. This is a double edge sword for us. On one hand, the music-hall design of the rather stunning venue helps transport you back to the Victorian era – but it has, without a doubt the most uncomfortable seating, so bring a cushion.

    6) A nod to the queer community – as there’s even a little bit of lesbian twist, which sticks two fingers up at the traditional boy meets girls blah blah blah. Bravo!

    A little rough around the edges, but a ruby in the Victorian dust.

    Oranges and Elephants runs at Hoxton Hall until 10 February.

  • THEATRE REVIEW | Woman Before a Glass

    ★★★★☆ | Woman Before a Glass

    Lanie Robertson’s Lady Day at the Emerson Bar and Grill looked at Billie Holiday’s heroin fogged last days. Here his razor sharp wit is turned towards wealthy art collector Peggy Guggenheim.

    1960s Venice and Peggy is pontificating on the terrace of her palazzo with an arm full of designer dresses, wondering what to wear for a TV appearance. She’s in the mood for chatting and addresses the audience of the tiny Jermyn Street Theatre directly. Brash, vulgar and monstrous, she’s a vision of bouffant hair, free-swinging breasts and is mistress of the crude comment. Looking back at her life she stalks the stage, swigging gin martinis and smoking. She amusingly refers to numerous ‘fucks’ including a few of the local gondoliers and lovingly reflects on her modern art collection, spitting venom when talking about that bitch who her uncle married. Beneath the campy veneer of tasteless monstrosity, there’s inner sadness as she talks about her father (who drowned on the Titanic), her great love who tragically died and her troubled depressive daughter, Pegeen.

    This is a tight script with the 90 minutes broken down into three sections. The character of Peggy is well rounded and thoroughly credible. At points, it’s a bawdy comedy but it veers towards tragedy as this strong woman regales us with her triumphs and troubles.

    Judy Rosenblatt is nothing less than stellar and her Peggy is a force to be reckoned with. Whether you’re already a devotee of Peggy Guggenheim or sadly unaware of this colourful character, this is a performance worth seeing.

    Woman Before A Glass is playing at the Jermyn Street Theatre until 3rd Feb 2018

  • THEATRE REVIEW | Still Ill, New Diorama Theatre

    THEATRE REVIEW | Still Ill, New Diorama Theatre

    Still Ill | ★★★

    Sophie is a jobbing actress who’s working in a terrible soap opera, playing a surgeon with a brain tumour. She’s making up her income having endless neurological examinations performed on her by trainee doctors. Struck down by a series of strange nervous system symptoms she’s left unable to function and feeling desperate with paralysis, spasms and seizures. Naturally, modern medicine has an answer. Even if there’s not a cure then there’s a name for what’s happening to you and some sort of treatment, isn’t there? But what if every doctor you meet tells you that it’s good news and the tests are negative? The more doctors you see (and there’s a lot of them), the more tests you have and the more time passes your symptoms get worse and there’s still no answer. Is it still ‘good news’ about how normal your test results are? Welcome to the world of Functional Neurological Disorder, a surprisingly common and debilitating condition.

    Still Ill returns to the The New Diorama Theatre near Warren Street after a successful run in 2016. It’s an achingly sad play with touches of comedy but an overall sense of optimism. It’s not as grim as the subject matter makes it sound. The company have carefully researched their subject under expert guidance and come up with a witty piece of theatre about a poorly understood area of medicine (and indeed life).

    The cast of three skilfully play multiple parts and it’s convincing and watchable albeit with the odd off note where it feels like they’re over-egging the pudding. There’s a strange backing track of live music and a sense of physicality to some of the action and it almost works. This is well worth watching not just to gain an understanding of a rarely mentioned illness but to see what appears to be a sane response to a mad world.

     

    Still Ill run at the New Diorama Theatre until the 27th January 2018