THEGAYUK

Tag: Theatre Review

All the latest breaking news on theatre in the UK. Browse THEGAYUK’s complete collection of news, articles and commentary on LGBT+ theatre in the UK.

  • THEATRE REVIEW | Twelfth Night – Sheffield Crucible Theatre and National Tour

    ★★★ | Twelfth Night – Sheffield Crucible Theatre and National Tour 2014

    In Shakespeare’s gentle comedy about unrequited love, tomfoolery and cross-dressing; twins, Viola and Sebastian are separated in a shipwreck and believing each other to have drowned, Viola to disguises herself as a young man called Cesario who falls into the service of Orsino, a benevolent Duke. The Duke holds an unrequited love for grieving widow, Olivia, a wealthy countess, but Olivia falls for Cesario, not realising that “he” is Viola in disguise, whilst Viola’s affections are firmly set on the Duke. Meanwhile, Sir Toby Belch, Olivia’s drunken uncle, plots a cruel trick upon Malvolio, the head butler, to make him think that his mistress, Olivia, has fallen in love with him. As the confusion reigns, love begins to blossom and bloom.

    Shakespeare can be considered a little heavy by many, but this production felt light and accessible, with a number of genuinely funny moments. Focussing more on the comedy of the play, the show feels surprisingly contemporary whilst remaining faithful to the original use of language. Shakespeare aficionados will no doubt appreciate the text, dialogue and rich characterizations which are ably provided by the cast, whilst those who are not so familiar with the Bards work will find much to entertain them in this fresh take on the classic play and easily lose themselves in the story.

    Director, Jonathan Mumby neatly nestles charm and romance in amongst the comedy; using a flurry of rose petals quite literally bursting out from the characters, a scattering of musical interludes and a delightful, grin-inducing opening to the second act. The static, shabby chic set provided an unobtrusive backdrop for the piece, allowing for the performances to take centre stage. As an ensemble, the cast worked remarkably well together. In the straighter roles, Jake Fairbrother stood out with his perfect diction and charismatic persona as Orsinio being matched only by Rebecca Johnson, who provided a commanding performance as the headstrong and determined Olivia. David Fielder garnered the most laughs out of the comedy roles, as he delightfully swayed and staggered his way through his turn as the drunken Sir Toby Belch and Hugh Ross easily demonstrated his mastery of the text with his portrayal as Malvolio.

    The play’s most often quoted line; “If music be the food of love …. play on” is taken quite literally with the score, coupled with the well thought out lighting, adding depth and atmosphere to the theatre and enhancing the feel of the piece. Despite a couple of the scenes feeling a little overlong, the blend of drama, physical comedy and music all combined together to make for an enjoyable evening, and a surprisingly short feel to the 3-hour running time.

    Twelfth Night is currently playing at Sheffield Crucible Theatre until the 18th October 2014. For further information and to book tickets, visit http://www.sheffieldtheatres.co.uk/event/twelfth-night-14/?tab=1#unit-production-dates . The production then heads out on national tour, details of the venues and how to book tickets can be found at http://www.ett.org.uk/productions/81/twelfth-night

  • THEATRE REVIEW: You Should Be So Lucky, Above The Stag

    ★★★ | You Should Be So Lucky, Above The Stag

    For their opening play of the new season, Above The Stag have chosen a madcap comedy from the pen of Charles Busch, a New York writer and drag artist, who also played the male lead in the original New York production of the play.

    A modern day Cinderella story, the play concerns Chris, a shy and slightly eccentric electrologist who accidentally electrocutes and kills his customer, the elderly Mr Rosenberg, unexpectedly inheriting Rosenberg’s millions. This sets off a chain of crazy events, including appearing on a TV reality chat show, under the guidance of his fairy godfather Mr Rosenberg, who returns as a ghost to take care of his surrogate son, and make sure his wishes are carried out in the face of his vengeful daughter disputing the will.

    Apart from one brief scene in the TV studio, the entire action takes place in the one room of Chris’s Greenwich Village apartment, a very clever and elaborate set by David Shields. Busch is a seasoned writer, his writing reminiscent of 1930s screwball comedies, and the laughs come thick and fast.

    I had my reservations, though and these were much the same as those I had with last year’s Gay Naked Play, also directed by Andrew Beckett. Too much of it was played on one frenetic level, with a surfeit of mugging to the audience, and an energy level far in excess of what was needed in this small house. Chris Woodley’s Christopher started well, and in his first couple of scenes with Colin Appleby’s warmly gentle Mr Rosenberg, created a touching portrait of a slightly lost young man, but as events got more and more out of control, so too did his performance. Stacy Sobieski was on firmer ground as Christopher’s completely over the top drama queen sister, Polly, as was Ellen Vernieks as Rosenberg’s daughter, Lenore, but they too would benefit from reining things in occasionally, as could Lucas Livesy’s Walter.

    The role of the TV host Wanda Wang is being shared by several actors. On the night I attended we had a nicely nuanced performance from Ishani Basu.

    Maybe the pacing will settle down a bit as the play gets further into its run. An entertaining evening none the less.

  • THEATRE REVIEW | Ballad of the Burning Star – National Tour

    ★★★ | Ballad of the Burning Star – National Tour

    Glamorous drag queen, Star, invites you to join her on a cabaret filled journey into the heart of the Middle East. Armed with a pair of killer heels, a deadly troupe of dancers and a handful of stories from both sides of the conflict, you are taken on a journey like no other to examine the individuals, families and communities who find themselves in the Ballad of the Burning Star is undeniably a bold piece of theatre. Credit is due to anyone who attempts to explain the complexities of the Middle East conflict via the medium of Cabaret, using a drag queen, a Star of David mirror ball, a musician called “Camp David” and a troupe of military dressed Diva’s. It was also undeniably confrontational, never shying away from its explosive, in your face style and being uncompromising in its portrayal of both sides of the conflict. It is equally bold in its physical, stripped back presentation – it is a show which stands on its own two feet, without the need for a set, props or a multitude of elaborate costumes.

    There were a number of very good ideas contained within the piece and as you peel back the layers, you begin to realise what an incredibly smart piece of writing this is. The way in which Star vacillates between caring host and dictator-like dominator of the Starlets, the way in which taboos are openly challenged, and the almost military precision drills of the dance routines are all reflective of the subject matter of the piece, and make the point with a sarcastic overtone and dark undertone. There is also the way in which the story comes full circle, how the events culminate at the end and how the circular narrative of the piece mirrors why the ongoing conflict still rages.

    But unfortunately, it the show never comes together in a way which allows it to reach the full potential of those good ideas. There were a number of aspects of the production which pulled it down – the almost identical troupe of Starletts playing different roles within the story led to poorly defined characters which were not always easy to identify during the narrative. The choreography became very repetitive very quickly and the majority of the presentation was reduced to nothing more than people shouting loudly, wailing or screeching at each other, which led to the loss of any actual dramatic impact. But as the closing lines of the show were delivered (in complete contrast to what had gone before and in a very powerful way) you realise what this show perhaps could have been with a little more restraint.

    That said, whilst not being particularly impressed upon immediately leaving the theatre, this show has really stayed with me for the last few days and for some reason, I have not been able to stop thinking about it. The more I have thought about it, the more I have realised what a clever piece of theatre this really was. It is just a real shame that the constant shouting and screaming undermined the value of the subject matter and the presentation of what was actually a very powerful, thought provoking, inventive and intelligent piece of theatre.

    Ballad of the Burning Star is now on national tour. Further information, details of the tour and booking details can be found at http://www.theatreadinfinitum.co.uk/productions/ballad-of-the-burning-star

  • THEATRE REVIEW | Ghost from a Perfect Place: Arcola Theatre, London

    ★★★★★ | Ghost from a Perfect Place: Arcola Theatre, London

    Multi award-winning playwright Philip Ridley returns to the Arcola with his contemporary classic Ghost From A Perfect Place, a scorchingly dark comedy where a monster from the past meets the monsters of the present.

    Twenty years after its premiere at Hampstead Theatre, Ghost From A Perfect Place has its first major revival under the direction of Russell Bolam, following his critically-acclaimed production of Ridley’s Shivered (Southwark Playhouse 2012).

    Back in the 1960s, Travis Flood led a gang that terrorised East London. Now, after an absence of many years, he returns to find his old turf in the clutches of a new kind of gang with a new kind of leader. Rio, the ruler of a mob of girls, instantly captivates Travis with her haunting beauty but soon a shocking story begins to emerge and it is one that shatters both their distorted memories.

    A stark half burnt out council flat in Bethnal Green sees Torchie (played by the excellent Sheila Reid) entertaining the returning gangster, Travis Flood (Michael Feast) as he waits to meet up with her prostitute granddaughter, Rio for sex. Torchie fondly regales him with tales of their ‘heydays’ and unfurls the terrible story of how her life fell apart.

    Ridley’s play is both hilariously funny and horrific in equal measures. The audience both laugh and wince as the play hurtles towards (a not unexpected) yet shocking conclusion. The cast are excellent with Sheila Reid (Madge from Benidorm) showing her skill as an actress. Michael Feast is a superbly edgy yet absurd Travis Flood and the two are more than ably supported by a cast of three young actresses as the terrifying Rio and her disciples.

    This production is a real triumph for the Arcola and the staging and direction are faultless. This is theatre at its gritty best and Ridley’s play has lost none of its relevance to disconcert, even after twenty years.

    Ghosts from a Perfect Place runs until 11/10/14

    Buy tickets here: http://www.arcolatheatre.com/production/arcola/ghost-from-a-perfect-place-by-philip-ridley

  • THEATRE REVIEW | Kes, Doncaster Cast Theatre

    ★★★ | Kes, Doncaster Cast Theatre

    In a small, northern working class community in the 1960s, Billy Casper’s life is not the easiest. He struggles with reading and writing, is picked on at school, bullied by his older brother and neglected by his uncaring mother. With nothing in his future but the prospect of leaving school and working in the coal mine, his future is bleak. When Billy finds and trains a wild kestrel, his life begins to find a purpose and meaning. But the cruelty of life strikes him a devastating blow.

    Produced by Cast Theatre and combining a mix of professional actors and amateur performers from the area, this new production of Barry Hines’ classic novel was adapted and performed to mark Cast Theatre’s first birthday.

    Jacob James Beswick stood out as young Billy Casper, looking every bit the part of the downtrodden youngster and filling the character with a balance of dread, pessimism towards the future and occasional glimmers of optimism. Beswick garnered a genuine empathy from the audience, especially during the shows closing scenes. Sally Carman, best known as Kelly McGuire in Shameless, was in familiar territory with her performance as Mrs Casper, and the incredibly handsome Ben Burman rounded off the family as vindictive half-brother, Jud. The majority of the cast were made up of amateur performers, making this local theatre in more ways than one and providing a cast who, as a whole, were pleasingly slick and polished and who had clearly honed their skills with the assistance of their professional contemporaries.

    The set was detailed, using a combination of projected backdrops and sliding panels to create different parts of the town, keeping the presentation simple but effective. The transitions between scenes were smoothly done and the original music, composed by Dom Coyote, added just the right amount of atmosphere. The lighting was kept low key, complementing the play’s gritty and dark subject matter and the story nicely gathered pace as it progressed. However, even in the intimate theatre space, the lack of microphones led to a few moments where it was difficult to hear what was being said, but this is a minor criticism of the production overall. The show has occasional moments of light humour, which were a welcome relief but which never detracted from the story or mood of the piece and the handful of local references added a nice touch. The show was engaging, enjoyable and a worthy choice and adaptation to celebrate the success of the theatre over the last 12 months.

    Kes is currently playing at Doncaster Cast until the 13th September 2014. Tickets can be booked online at http://castindoncaster.com , in person at the box office or on the telephone on 01302 303959.

  • THEATRE REVIEW | Dracula, Northern Ballet, West Yorkshire Playhouse

    ★★★★ | Dracula, Northern Ballet, West Yorkshire Playhouse

    Jonathan Harker is a young lawyer in the employ of Dracula, who shows the Count his beautiful fiancé, Mina, and upon becoming obsessed by her, Dracula heads to the shores of England to seek her out. But following the murder of her best friend, Lucy, by the Count, Mina falls under his spell. But in an attempt to avenge the death of Lucy, Lucy’s suitors and Harker are assisted by vampire hunter, Van Helsing, to track down Dracula in a desperate attempt to save Mina from an undead eternity.

    In this deliciously dark version of Dracula, from the opening moments of a naked Dracula stepping out of a coffin swirling in mist; through to the exhilarating and dramatic ending, Bram Stoker’s tale of obsessive love is brought to life by Northern Ballet who treat audiences to a lavish and spectacular gothic production.
    The atmosphere created in the theatre was superb with the lavishly detailed, Tim Burton-esqe sets providing a beautiful and visually stimulating backdrop to the dancers, which included performers being lowered from the ceiling and raised up from the ground. The cleverly designed low level lighting added to the gothic gloom of the piece and the music further complimented the ambience with a mixture of sharp strings and angular sounds akin to the soundtrack to “Psycho”; set against a host of choral orchestrations, reminiscent of “The Omen”. As always the costumes were beautifully put together, with the female dancers flowing gowns adding to the almost dreamlike quality of the show.

    Kevin Poeung provided the performance of the evening as asylum dweller, Renfield, who seems to have a strange connection with the Count. Poeung’s physical performance was energetic and contorted and contributed to one of the highlights of the show, namely the initial scene in Dr Jack Seward’s asylum. The engagement party was also a highlight, with the company dancing beautifully together. But the crescendo of the second act was the outstanding moment of the production with an ending which proved to be a breath-taking conclusion to the piece. Ashely Dixon also impressed throughout with his performance as Jonathan Hawker.

    The ballet was a lot darker and slightly heavier going than Northern Ballet’s usual fare, but the slow burn of the first act and the drama of the second act make this a rewarding watch. For an exhilarating piece of theatre told with an accessible narrative, Dracula is a visually rich and beautifully gothic piece of ballet.

    Dracula is currently being performed at West Yorkshire Playhouse in Leeds until 13th September 2014. Tickets for Dracula can be booked at http://northernballet.com where you can also find out information about their upcoming productions for the Autumn/Winter season, many of which will be performed at different venues around the country.

  • THEATRE REVIEW | War House, National Theatre

    ★★★★★ | War House, National Theatre

    First off, don’t hate me. Please don’t hate me, but I have to confess… I got up close and personal with Joey last night in Salford and had a great time.

    Who is Joey? Joey has chestnut hair, flowing in the breeze, he’s strong, muscular, has great legs – all 4 of them… Joey is War Horse.

    Don’t know about you, but I’d seen the images of the stage play, I’d even sat through the snoozefest that was the film, but nothing, and I mean nothing prepared me for the stage play.

    The story is so well known, I don’t feel the need to go over it here but it’s simply boy meets horse, boy trains horse to pull a plough, WW1 begins and the horror starts.

    This current touring production is at The Lowry until 20th September so you have time to book your weekend away in sunny Manchester before it travels to Stoke and then off to South Africa.

    I think the main thing that makes this production so darn wonderful is the animals – and by animals I mean Handspring Puppet Company and their puppets and puppeteers. These are some amazing creations – so articulated, so well observed, not just in terms of the look, but in the way they are manipulated and worked. Their walk, the noises, even down to their breathing… these are nuanced performances… you eventually forget about the people working them and buy into them as “real”. Watch out for the amazing flying birds, and the goose!

    That isn’t to detract from the human cast, with Lee Armstrong giving one hell of a performance as Albert Naracott who trains Joey, and then follows him to war. Martin Wenner makes up the other half of this main human duo, playing Albert’s German counterpart, Friedrich. I love how the story weaves together both Albert and Friedrich, alongside the equine Joey and Topthorn.

    This story seems to flow better than the film for some reason, the horror of battle shown better in the drawings displayed constantly on a torn paper screen, the minimalist staging ripe for touring but leaves so much to your imagination, the dirt and grime, the gas attacks, the effect on the people in occupied France…

    We were lucky enough to get to do a quick Q&A with Martin Wenner, Lee Armstrong and the horses/puppeteers after the play, and I managed to grab some half-decent images to give you some scale of these magnificent creations. (see above)

    If you can, get tickets, sell your gran if need be but go see it live – it’s a whole new world! I’ve been to the theatre quite a lot, but have never, ever seen such a reception as this cast and crew received for this production. Standing ovation? Tick!

  • THEATRE REVIEW | Briefs: The Second Coming

    ★★★★★ | Briefs: The Second Coming

    ‘Cirque du Soleil’ meets ‘RuPaul’s Drag Race’

    The award-winning all male, all vaudeville, all trash brat-pack return to London with their cult variety hit, Briefs.

    Briefs is a madcap safari through extravagant birdbath boylesque, too close for comfort yo-yo tricks, valiant aerial acrobatics, irreverent interludes, ferocious fanfare and show-stopping drag artistes. The line-up is disorderly, and the show is still circus-infused. Expect the unexpected in this array of satire and skills as the BRIEFS boys present London Wonderground with burlesque…with balls!

    When I entered Wonderground on London’s Southbank I was amazed and instantly transported to a circus fairground. There was music, rides and a carousel alongside countless bars and food establishments. As I waited alongside my friend in a wooden dodgem car, I heard a bellowing lady exclaim that the show was about to start and that the audience should take their seats. I travelled into the Spiegeltent and was pleasantly surprised to see comfortable seating and a proper stage. I took a seat in the second row as I knew the front row would be in for a surprise. I was greeted by men in scantily clad suits. I sat down and the show began….

    We are first introduced to Fez Faanana who is the compère for the show, a mix between Frank N. Furter and Jason Momoa, who is not your standard drag queen. Then we are introduced to Thomas Worrell who certainly knows his flexible way around a ring. A contortionist who’s incredibly cute to boot! We are then let loose in front of Adam Krandle, a most mischievous character who is very good at rendering the audience into hysterics over the most inanimate of objects. Then we see the delights of Dallas Dellaforce, a drag queen who is Queen of the Queens, taking on embodiments of Marilyn Monroe and Audrey Hepburn. Later, we see the drop dead gorgeous Louis Biggs who is only 20 years old and certainly knows how to play with his toys! Finally, we see the King of Burlesque, Mark Winmill who is the headline act and it is certainly where he belongs. He delivers a culmination of the previous acts with added extra surprises that will leave the audience thirsty for more!

    I have to say that it is one of the best shows I’ve seen in a long time. There is an effervescent mix of comedy, camp and cabaret. There are bearded drag queens, monkeys and more than enough eye candy; all blended together with an intoxicating mix of circus, spectacle and surprises.

    Final words: 100%! 5 out of 5 stars! Everyone must go see this show whether it’s for the circus, cabaret or camp elements or even to ogle at the hot half naked men. It is a show that I’m sure that will go down well for straight and gay audiences alike!

    Briefs: The Second Coming is on at the London Wonderground from Thursday 28th August – Sunday 28th September. Performance starts at 7:30 pm with a running time of around 75 minutes. Tickets prices range from £14 – £20.50 and are available here: http://www.southbankcentre.co.uk/whatson/briefs-the-second-coming-82977

    Follow the show on Twitter: @briefsfactory and #briefsboys and the boys on Facebook: https://www.facebook.com/briefsallmalecircuscabaret or their website: http://briefsfactory.com/

  • THEATRE REVIEW | Autobahn, The King’s Head Theatre, London

    ★★★★★ | Autobahn, The King’s Head Theatre, London

    Regarded as one of the most celebrated American playwrights, Neil LaBute has enthralled audiences all over the world with his layered characters, sharp dialogue and subtle social commentaries. Savio(u)r return to the King’s Head Theatre after the success of 2013’s Our Town with the London premiere of LaBute’s play, Autobahn, directed by Off-West End Award nominee Tim Sullivan.

    This short-play cycle follows colourful, complicated people making their way across America’s highways and their stops, starts, and stalls along the way. The London cast includes Sharon Maughan (Holby City, The Bank Job, She’s Out of My League), Henry Everett (Michael Grandage’s (A Midsummer Night’s Dream), Tom Slatter (Robot Overloards), and Zoe Swenson-Graham (Our Town).

    This cycle of seven short pieces stretching over 2 hours 10 minutes (with an interval to catch your breath) consists of scenes of people in cars. The stark set is a disembodied half of a car with a background scene projected on the wall and the 4 actors take various roles in the vignettes. Some of the pieces are total or almost total monologues with little interchange between characters whereas others are sharply written well-performed two handers.

    The concept of two people talking as they sit in a car might not fill you with excitement but the skill of the writing and the intensity of the dialogue soon drags you in. These are nasty stories at times with LaBute’s characters having only a thin veneer covering their insecurities, betrayals and crimes. Unfaithful wives, psychotic girlfriends, unrepentant addicts and willing abductees abound in the dark world that is depicted, yet at times the plays are also painfully funny.

    The cast are excellent and really bring life to the disparate and often desperate characters. This is a really unique theatre experience. The last outing for a LaBute play (Bash Latterday Plays at The Old Red Lion) ended up transferring to the West End. Catch this stellar production while you can. It deserves a wide audience.

    Autobahn runs until the 20th of September 2014

  • THEATRE REVIEW | Quentin Crisp: Naked Hope, St James Theatre, London

    ★★★ | Quentin Crisp: Naked Hope, St James Theatre, London
    “I became one of the stately homos of England.”

    From a conventional middle-class Surrey upbringing to global notoriety via his autobiography “The Naked Civil Servant”, Quentin Crisp was an extraordinary raconteur and wit. This new production, making its London premiere after an Edinburgh season, shows Quentin both in his beloved but squalid Chelsea flat as the 1970s dawn, and in his final years in his adopted New York, with the new millennium beckoning.

    The show draws on Quentin’s own writing and performances in a new script by Mark Farrelly, who also performs (West End credits include Who’s Afraid Of Virginia Woolf with Matthew Kelly). He is directed by the renowned Linda Marlowe, who has won awards for her own solo work such as Berkoff’s Women.
    Quentin Crisp was an extraordinary character. Sharp-tongued, controversial and seemingly fearless. Born in an age when gay sex was illegal and liable to land you in prison, he embraced what he was: a flamboyant and effeminate homosexual. Facing ridicule, beatings and scorn as well as the ardour of men in the back alleys of Soho, he became a notorious character. With the publication of his autobiography and subsequent television film of this, starring John Hurt, he took infamy and his waspish wit to a much wider audience. His one-liners were legendary as were his regular television chat show appearances.

    Alienating the gay rights movement of the 1970s and causing furore with flippant comments about anything from AIDS being a passing fad, homosexuality being a terrible disease and his views on Princess Diana, perhaps more shockingly, the seemingly very English based institution, moved to New York and made his home there in his later years.

    Farrelly’s play has strengths and weaknesses. He manages to capture some of the wit, acidity and pathos of Crisp but at times this is slightly patchy. The script is stronger in the first half when Crisp is shown alone in his London flat, addressing the audience as he postures and quips with the thin veneer showing some vulnerability beneath. Although physically much sturdier than Crisp, he does manage, mostly, to convey an essence of Crisp’s character and demeanour. The second half, where Farrelly depicts Crisp performing in New York just before his death, felt much weaker with the relentless round of bon mots becoming a bit tired and the audience participation element feeling a bit unnecessary to the show. I did, however, laugh quite a lot and it was good to be reminded of some of Crisp’s better one-liners in this well-researched show.

    Quentin Crisp: Naked Hope is on at St James Theatre until the 7th of September 2014

    Buy tickets here: http://www.stjamestheatre.co.uk/events/quentin-crisp-naked-hope/

    The show will also be touring the U.K. from October with shows at Greenwich, Cardiff, Dundee and Hemel Hempstead.

  • THEATRE REVIEW | Compulsion

    ★★★ | Compulsion

    What’s your secret? What do you do in private that you wouldn’t share with anyone? What happens if the quiet, secret compartments in our heads start to invade our consciousness? And if the curtains are torn down for all to see, could we survive? Would we adapt or die?

    Tom Staunton’s a nice guy. A genuinely nice guy. A little damaged and a little quirky. Who isn’t? But his secrets and compulsions are coming to the fore in a very public way that he can’t control. The voices in his head won’t keep quiet. They have to be heard. What’s his secret? Why is it tearing him apart? Is any part of our nature as human beings too shameful for others to see?

    Join Tom as we examine the dark corners of his mind. Meet the different facets of his personality that hold power over him and witness the incidents in his past that have made him who he is.

    Compulsion is a darkly comic journey into one man’s sub-conscience. Tune into the noise in his mind that simultaneously tortures him and helps him to keep going. Witness the struggle of having to live with oneself.

    As I arrived at the theatre, I was amazed to see an empty stage with just two actors and a chair. I knew this was going to be a true Fringe performance. As I sat down and began to cool down, I was instantly drawn in. Evidently, we were dealing with a gay man being haunted by the different elements of his subconscious. We were presented with three variations of his psyche played by Kim Maouhoub, Paul Storan and Nigel Fyfe.

    We were immediately transported into Tom’s mind by the exquisite use of lighting that matched perfectly with the angst dealt Declan Cooke’s character. Kim Maouhoub, who had an air of Helena Bonham Carter, played her parts brilliantly. Each new character portrayed was performed beautifully with excellent characterization. The other two actors, Paul Storan and Nigel Fyfe were also great with real determination and emotion in their performance.

    The only downside was the length; it only lasted just under 50 minutes with the majority of the time being the scene changes. An interruption which I feel could have been done better. I would have liked to have seen the play developed more and made into more of a developed narrative rather than a glimpse into his innermost thoughts. Furthermore, the LGBT themes seemed to be a bit cliché; a gay man with an abusive past that had been accused of being a paedophile. It is these clichés that I wish were avoided. Instead I would have liked to have seen a deeper dive into Tom’s mind and even perhaps not having a clear and concise answer to why he felt the way he did, however all in all an excellent and true Fringe performance.

    More details in the link below:
    https://tickets.edfringe.com/whats-on/compulsion

    Or feel free to ‘Follow’ them on Twitter: @thecompulsion or ‘Like’ the page on Facebook: https://www.facebook.com/pages/We-Keep-You-Company-thecompulsion/533083020145519?sk=timeline

    Final words: An interesting production with clichéd themes. Definitely worth a view if you’re in the area especially for Kim Maouhoub. Not bad!