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 | Up4AMeet?

    Up4aMeet? – An Evening of Naked, Gay, Laugh-Out-Loud Comedy

    The Up4aMeet? Cast: Chris Wills, Penny Tasker, Lloyd Daniels, Nikki Grahame, Michael Blore & Benedict Garrett)

    It’s #NakedAugust month here at The Gay UK, so I decided to go along and see Up4aMeet? the hilarious naked gay play.

    Grant (played by the brilliant and sexy Chris Wills) finds it difficult to talk to gay men in reality. But on his favourite app ‘The Cock Shop’ he can be himself and even find out how many metres away his nearest gay man is. ‘The Cock Shop’ is described as a gay man’s sweet shop; with a few clicks a man can be delivered to your door.

    Carlos (played by the well-endowed Benedict Garrett) is Grant’s Spanish & naturist flatmate who also is a big fan of ‘The Cockshop.’ For Carlos life is all about the sex. Carlos has a strict aversion to clothes and stripped every time he walked onto the stage. He was practically naked throughout the entire show.

    Caroline (played by the fantastic Penny Tasker) is a broke Celebrity Agent who is Grant’s best friend and lives in the apartment downstairs. She represents a number of reality-TV celebrities including Stacey Granger (Big Brother’s Nikki Grahame) but is failing to find work for any of them.

    In the apartment next door is old queen Julian (played by the suitable Michael Blore). Julian is obsessed with Dame Shirley Bassey. His obsession extends to playing Gold Finger constantly, having a cardboard cut-out of her and a toilet seat that he’s made for her as a gift. Julian decides he’s getting a flatmate and ends up with Scott (X-Factor’s Lloyd Daniels).

    Up4aMeet? has nudity from the start with Grant being caught by Caroline taking a rude picture of himself for his ‘Cock Shop’ profile. Grant and Carlos accidentally switch phones and the hilarity begins. The characters attempt to deal with their own problems throughout the more than two hour show, amusing the audience along the way.

    The comedy that causes the audience’s incessant and side-splitting laughter is derived through gay stereotyping. Yet despite this stereotyping, the characters are believable and had a reasonable amount of depth – which is a tremendous credit to the writer.

    All of the characters are a bit zany including Carlos who had a bit of a dodgy accent at times. But he made fun of it himself and managed to get a few chuckles from the audience. Caroline had some great, sharp one-liners and is a constant source of entertainment throughout. One particularly funny scene of Caroline’s that springs to mind involves an eye patch and a glory-hole.

    Scott (Lloyd Daniels) was mostly eye candy and played a far too small role in the play. We don’t see Scott on stage until mid-way through and he barely has any dialogue. Scott (Lloyd Daniels) is the only male member of the cast who doesn’t get fully naked – sorry boys.
    The cast’s acting was splendid and they all made good eye contact with the audience – despite the difficult layout of the venue.

    The ending was dramatic, full of twists and turns with plenty of humour and a reminder that: you never really know whom you’re talking to online.

  • THEATRE REVIEW | WAG! The Musical, Charing Cross Theatre

    I have struggled over writing this review for a full week, primarily because I just couldn’t find the words to describe the excitement, hilarity and fabulousness that went into… oh, no, wait, that was another show. This was just awful.

    Awful.

    Anyone who knows me will know that I champion London theatre as much as possible. I think we are in really exciting times with new challenges and technology bringing a whole new mindset to the stage. However, WAG! is a blemish -a very, very dull blemish – on the London stage, and one I would be happy to see the back of.

    The plot revolves around two female shop assistants, each in an ill-advised relationship (one with a married man; the other with an abuser). All day, they serve the bevy of glamorous WAGs that come through the department store and dream of becoming one of them.

    THE POSITIVES (both of them): Katie Kerr as the fabulous Blow-Jo was a delight every moment she was on the stage. Out of the show’s characters, she was the only one I warmed to even slightly. Alyssa Kyria appeared as her regular character, Ariadne the Greek Wag, who is fairly well-known on the comedy / cabaret circuit. Kyria wrote her scenes herself, and they very much stood out from the tedium.

    Acting-wise, Tim Flavin played Mr Frank well. However, the character was a tired old cliché and not one I enjoyed watching. In fact, I enjoyed watching Lizzie Cundy more, mainly to see if I could spot her apparently-Botoxed face move. On the plus, she is at least the genuine article – a real-life WAG, and definitely looked the part.

    A succession of other, equally forgettable characters “graced” the stage. Another WAG, another bad actress, a camp designer, each as dreary as the last.

    I simply cannot spend another minute thinking about this complete travesty of a show, so I will leave you with the words of Andrzej Lukowski of Time Out, who says: “Wag! sort of blunders on in a dull, well-meaning muddle, two-and-a-half drab, weakly-sung, low-budget hours.”
    Well said, Andrzej. Well said.

    WAG! The Musical is listed at the Charing Cross Theatre until 24 August, although I can’t see it completing the full run. I heard on the grapevine they’re hoping to tour it in 2014 too. Tickets cost… oh, I don’t know. Save your time, money and sanity by not buying one.

  • THEATRE REVIEW | Velma Celli, Hippodrome Casino

    The stylishly sophisticated Hippodrome Casino is exactly the right venue for this glamorous, exquisitely fun evening of songs, bendy men and burlesque, hosted by the very fabulous Velma Celli.

    Each of the performers are a delight, but none outshine Velma herself, who sings and dances her way through the evening with a dazzling presence that is captivating and hugely enjoyable. The alter-ego of Ian Stroughair, a well known name on the West End stage in his own right, Velma takes the drag concept to whole new dizzy heights, ably accompanied throughout by Musical Director, Joe Louis Robinson.

    This evening’s guest performer is Jordan Lee Davies, who recently appeared on The Voice. He is a little lost on some of the harder notes of his otherwise beautiful rendition of ‘Just Like A Pill’, but leaves us in no doubt of his vocal capabilities when he performs ‘Suddenly Seymour’ as a duet with Velma Celli. My notes from his performance simply state “Every so often, hits a note that is so perfect it’s f**king scary!”

    Amanda Posner has a voice so smooth it is like melted chocolate and is a genuine privilege to hear. Posner returns in Act 2 as her alter-ego, Mr Fox, who adds a fabulous twist when he duets with Velma. It is a rare treat indeed to see a Drag King and Queen duet performed with such vocal precision. Their ‘Ode to Kerry Katona’ is comedy gold, and sums up what the majority of their audience feel about Katona’s recent casting as Marilyn Monroe in Norma Jeane the Musical.

    An extra dose of glamour, delight and sensuality arrives in the form of Jolie Papillon, who teases us to breathtaking perfection. Everything a burlesque performance should be, Ms Papillon’s routine is sexy, funny, expressive and very, very cheeky. I have long been a fan of burlesque when it is performed well, and this is an absolute pleasure to watch.I mentioned bendy men earlier, and the first of these is Jonathan Finch who is listed simply as a “hand balancer,” which does neither him nor his act any real justice. Finch performs acts of strength, balance and, yes, bending that frankly defy the laws of physics.

    Another bendy man comes in the form of Ben Brown, who performs some of the best aerial hoop work I have seen. A visual treat, Brown is stunningly attractive and it is hard not to be mesmerised by the sheer physical perfection of his boxer short-clad body. However, the grace and dexterity he displays with his hoop soon outshine anything else as he twists into seemingly impossible shapes with breathtaking precision.

    All too soon, the evening is over, and I leave the Hippodrome with that wonderful rush that can only be gained from seeing something so exceptionally wonderful. I am left in no doubt that the name on everybody’s lips is, indeed, going to be Velma.

    Velma Celli next performs at the Hippodrome Casino on 22 August. Tickets range from £10-£30 and are available from http://www.hippodromecasino.com/velma-celli-show.

  • THEATRE REVIEW | A Man Of No Importance

    Sedos is the City of London’s premier amateur company, and, to end their three week season at the Bridewell Theatre, they have ambitiously chosen to do the musical “A Man of No Importance”.

    Based on the 1994 film of the same name, with Albert Finney in the leading role, the musical has a book By Terrence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens, the same team responsible for the Tony Award winning “Ragtime”. McNally is of course a successful playwright himself, responsible for such successes as “Love! Valor! Compassion!”, “The Lisbon Traviata”, “Masterclass” and “Corpus Cristi”, and most, though not all, of his work is gay themed or of gay interest. “A Man of No Importance” is no exception, and centres on the character of Alfie Byrne, a softly gentle Irishman, passionate about the work of Oscar Wilde, who lives with his sister in 1964 Dublin. A closeted homosexual, harbouring a secret love for his colleague, Robbie, Alfie throws himself into staging an amateur production of Wilde’s “Salome” at the local church hall, but comes into conflict with the church leadership when they discover the nature of the play. During the course of the show, he struggles with his sexuality and with temptation, faces disapproval from those he considers his friends, and finally enjoys reconciliation, when they accept him for who he is. McNally’s script is, as you would expect, masterful.

    It is a tale with possibly a little too much Oirish charm and whimsy for my taste, but its very gentle lyricism does eventually draw you in. Not especially memorable musically, there is one stand out ballad, (Princess), beautifully sung in this production by Sarah Shepherd, who plays Adele, the new girl who is given the part of Salome. Another high point is the lovely, humorous, but gently moving song, The Cuddles Mary Gave, given a touching performance by Paul Francis as Baldy. However the show is very much an ensemble piece, and it seems invidious to single out single performances, when there really isn’t a weak link in the cast.

    Matt Gould’s direction was clear and efficient, though I thought the choreography of Sarah Evans a little confused, whilst acknowledging the difficulties inherent in moving a large number of people around in a small space. Musical director Inga Davis-Rutter skilfully managed her, presumably, paired down band of players. She also must have spent hours rehearsing the choral numbers, which were cleanly and brilliantly sung.

    All in all, however, the show stands or falls on the performance of the main character, the Man of No Importance, Alfie Byrne. It is not an easy part to play. Playing a quiet, unassuming character never is, and for the first half hour or so I did wonder if James Franey was overdoing the Irish whimsy. By the time he sang his big number,The Man in the Mirror, he was fully engaged in his role and we with him. This was opening night, and his performance can only get stronger as the week goes on.

    The Man of No Importance runs until the end of the week at the Bridewell Theatre just off Fleet Street and, though maybe not of the calibre of a professionally staged production in London’s West End, it is at least the next best thing. Congratulations to all involved.

  • THEATRE REVIEW | Jack Steele & Family

    ★★★ | Jack Steele & Family

    A proud, Northern family man celebrates his 70th birthday surrounded by his family in the converted steel mill where he used to work, but as the night unfolds, so does the fabric of his family in this modern take on the kitchen sink dramas of the 1960’s.

    Jack Steele arrives at his old place of employment which evokes memories of friends, his pride and dedication in his work and his deceased wife. His son, Nick is a university lecturer who has a difficult and tempestuous relationship with his brother, Chris, a successful property developer who has left Sheffield and shows no affection for the city that made him. Nick is the straight-laced son who has always acted as the rock for the family, whereas Chris is more self-serving and much less reliable. The relationship between Nick and Chris is soured further by Nick’s wife, Louise, who made an irreversible decision when she was misdiagnosed with a terminal illness.

    The grandchildren also have problems and pressures of their own and the cracks in the family start to show as the evening unfolds and the prodigal son returns. Torn between the loyalty to his family members, trying to deny the fact that he favours one son over the other and struggling to find where he belongs both in his family and his community, Jack’s northern pride and confused emotions come to the surface in this bitter sweet story.

    The stage was beautifully constructed, with corrugated iron sheets and huge forged crane hooks hanging from the ceiling. The set, coupled with a very well lit stage, flooded with oranges and reds, provided an authentic and engaging atmosphere. The costumes were simple and functional and the static layout of the stage was suited to the production. The show was not technically dazzling, but it was never meant to be and the draw here is the drama unfolding on stage as opposed to it being a visual spectacle.

    Fine Time Fontaye turned in the best performance of the evening as the titular Jack Steele, showing an old man who becomes overwhelmed by his feelings, which overflow his stiff upper lip and Yorkshire dignity. Good support was provided by Robert Angell as Nick Steele, Susan Cookson as Louise Steele and Ian Reddington as Chris Steele. The remainder of the cast was made up of drama students from Sheffield Hallam University who deserve credit for their involvement. Some of them showed particular promise, especially Sam Parkinson, who looked very comfortable and natural on stage.

    This original play, which I was fortunate enough to see at its premiere, was enjoyable and the characters were not only well written, especially the male leads, but were easily recognisable from the viewer’s own family, friends and colleagues. The play was a joint venture between Sheffield Theatres and Sheffield Hallam University and was littered with local references and a story, which went to the heart of the city. That said, whilst some of the local references may be missed by those who are not familiar with the area, the story has enough universal themes to negate the need for an in-depth knowledge of the city.

    This was, in many ways, local theatre as it should be; namely written, produced and performed by talent from the city where the story is set and the show itself is performed in. But aside from the fact that, like Jack Steele, this reviewer has a deep-rooted love for his hometown, it is not just a show for Sheffield people.

    Jack Steele and Family is currently showing at The Crucible Theatre, Sheffield until the 20th July 2013.

  • THEATRE REVIEW | Miss Nightingale: The Burlesque Musical

    ★★★★ | Miss Nightingale: The Burlesque Musical

    It’s 1942 and Britain is in the grip of war. Northern nurse Maggie Brown has moved to London to try her hand at a singing career but along with her Jewish refugee song-writer, George, she faces rejection at every turn.

    Things change when the pair meet aristocratic nightclub owner Sir Frank Worthington-Blythe and the saucy burlesque singer, Miss Nightingale, is unleashed on a rapturous London crowd. Complications ensue when Maggie’s relationship proves to be less than perfect and Sir Frank falls in love with George.

    Near the start of the show George states that he wants to bring a touch of pre-war Berlin to war time London and the show certainly achieved that aim with witty numbers, corking dance routines and enough sauce and innuendo to outdo even the cast of a Carry On film. The show is very funny and incredibly infectious with a fantastic set of songs which run the gamut from bawdy through to mournful. Composer, Matthew Bugg has written some corking numbers which had the audience cheering and applauding like crazy and the standing ovation from the crowd at the Leicester Square Theatre proved that the show was a massive hit.

    Award winning burlesque star Amber Topaz is a tiny but powerful ball of cheekiness with a talent to amuse, titillate and dazzle and the two male leads are also well cast and show incredible talent. As well as acting, they sing beautifully and play instruments in the band. How’s that for multi tasking?

    The main theme of the musical is the difficulties faced by gay men in Britain in the 1940s, with fears of damaged reputations, prosecution and ruined lives. The love story between Frank and George is actually quite charming and beautifully rendered.

    For a cracking night out I’d recommend this wholeheartedly.

    The show is on 7th July at Leicester Square Theatre followed by
    • 9th to 13th July: Yvonne Arnaud Theatre, Guildford
    • 15th to 17th July: Victoria Theatre, Halifax
    • 18th to 19th July: Lyceum Theatre, Sheffield
    • 22nd to 27th July: Theatre Royal, Windsor

    Book tickets and read more here: http://missnightingale.co.uk

  • THEATRE REVIEW | Private Lives, Gielgud Theatre

    ★★★★ | Private Lives

    If you’re not familiar with Noel Coward’s work then you’re in for a treat with ‘Private Lives’ and the lavish new production at The Gielgud is well worth catching.

    Elyot Chase (Toby Stephens: Jane Eyre, The Tenant of Wildfell Hall) is on his honeymoon in France when he finds that his ex-wife, Amanda (Anna Chancellor: The Hours, Spooks) is in the adjacent hotel room and is also on her honeymoon. Still reeling from their tempestuous failed marriage the pair revisit the havoc that ensued previously.

    Beautiful, stylish and utterly selfish, they are witty, snide socialites. Coward’s dialogue is acerbic, devastatingly vicious and alarmingly witty. The two leads capture the spirit of the play perfectly, with dialogue that feels like a deliciously deadly fencing match. They lunge, parry and attack with rapier sharp put downs and impeccable comic timing. Chancellor is monumental in a series of stylish costumes, looking like she’s stepped straight off the pages of a book of Erte illustrations whilst Stephens captures the louche selfishness, suave posturing and petulant impishness of Elyot perfectly. Chancellor in particular makes the play her own with a seemingly effortless performance that conveys the nuances of Amanda’s character with serious style.

    The set is stunning and Amanda’s apartment in Paris is a visual feast of Art Deco styling. I could have sat in my seat and quite happily stared at the set for an hour but luckily there was much more to see.

    An interesting aside is that Toby Stephen’s wife, actress Anna-Louise Plowman, plays his new wife, Sybil. Added to this, Stephen’s parents, Maggie Smith and Robert Stephens, played the parts of Elyot and Amanda in the same theatre in 1973.

    Highly recommended for those who like their comedy with lashings of clipped tones and sharp witticisms. The audience loved the show and so did I.

    Catch Private Lives at The Gielgud Theatre until 21st of September 2013
    Buy tickets here: http://privateliveswestend.com

  • THEATRE REVIEW | Evita, Sheffield and National Tour

    ★★★ | Evita

    The glamour, passion and politics 1940’s Argentina are brought to life in this revival of one of Andrew Lloyd Webber’s most successful musicals which is back on national tour.

    In 1934, a young and naive country girl, Eva Duarte, falls for a singer and pressures him into taking her to Argentina. Filled with her ambitions to be a singer and actress, she quickly realises the harsh reality of life in the city when he leaves her. Sleeping her way up the ladder, from secretary to model and from radio star to actress, she attends a charity function held by Juan Peron, an aspiring politician with his sights on clawing his way to the presidential seat. They come together, both in love and to further their careers, much to the disapproval of a number of Peron’s political allies. But whilst Evita charms the nation, the corrupt nature of their reign starts to show, her greed and power hungry desires come to the forefront and her body starts to become increasingly frail as she begins to succumb to illness.

    There are a number of reasons to recommend this production. Starting with the music, the show is performed as a sing through musical, and is absolutely crammed with classic songs, including “Another Suitcase, Another Hall”, “You Must Love Me”, “”Oh, What a Circus” and the show stopping, “Don’t Cry for Me Argentina”. The orchestra played beautifully together and the balance of the volume between the music and the vocals was perfect, allowing for both the music and the lyrics to be appreciated. It was also good to be reminded of how well written, enjoyable and powerful the music and songs are when performed live.

    The ensemble cast were incredibly talented and all performed strongly, sounding superb when singing both together and undertaking their solo parts. Mark Heenehan was well cast as Juan Peron, demonstrating his commanding voice and compelling stage presence.Sarah McNicholas gave a heart wrenching performance of “Another Suitcase, Another Hall” and Nic Gibey was ideal as the sleazy crooner Magaldi. However, the standout performance of the evening was by ensemble member Joel Elferink, who managed to consistently out-sing and out-act most of the cast in his numerous parts.

    The play itself was more political in its storyline than the well-known film version and the play moved along at a swift pace, meaning the near two hour running time flew by. There were some well put together set pieces, in particular, “Buenos Aires”, “Peron’s Latest Flame” and “A New Argentina”, which were well choreographed and performed. The set was versatile and well utilised, although did seem cluttered at times, the use of the lighting was atmospheric and effective and the costumes were beautifully put together.

    With so much to recommend it, it is a shame that the two leads were the weak link in both the production and the cast. Marti Pellow was better than expected as Che, but his, performance appeared both forced and strained at times, in contrast to the much more natural performances of the other cast members. Madalena Alberto played the title role with some enthusiasm and she had a good voice, but she lacked the charisma and presence of the character that she was playing, making her performance slightly less believable. Her delivery of “Don’t Cry for Me Argentina” and “You Must Love Me” were the stand out moments of her performance. Their performances did steadily improve over the course of the show and eventually won me over, but it is a shame when the “stars” of a musical are eclipsed by the rest of the cast for the majority of the show.

    Overall, the show was an enjoyable evening and was a well put together production which turned out to be better than anticipated. The music continues to stand up today and despite the show being around 35 years old, this production still sounded fresh and contemporary and was generally well performed by a talented cast, despite what could be argued as a slightly miscast pair of leads.

    Evita is currently playing at the Sheffield Lyceum Theatre until the 13th July 2013 before continuing its national tour.

  • THEATRE REVIEW | Power Couple

    ★★★★ | Power Couple

    Relationships are peculiar things: whether your status is single, in a relationship or ‘it’s complicated’. Power Couple is an innovative comedy show which looks at a relationship from the viewpoint of both participants proving just how funny relationships can be.

    Stephen Bailey has spent the past twenty-something years trying to find true love and romance. For years he prayed for a womb so he could trap a man but he’s done it the normal way – through a love spell (well he tried apparently). Gary John Senior is completely different; he has spent his life avoiding a relationship until almost by accident (or witchcraft) Stephen happened. As they embarked on a relationship, Gary’s brow got sweatier. Not only does he have to deal with his own neurosis, he has to deal with Stephen’s too. Gary takes us through his findings from his first year in his first relationship (ever) to explore the real fine line between love and madness.

    The show takes the form of two sets, each partner talking about the relationship. Gary mourns the loss of days watching porn and playing on his Playstation which has been replaced by inquisitions, insecurities and the minefield that is sending a text to your boyfriend and forgetting the little ‘x’ at the end. Stephen is re-appraising his ideas of romance as he gets treated to Groupon dates and unusual birthday gifts.

    The show is really amusing and anyone who has been in, observed or run a mile from a relationship can identify with the two men and their experiences. The observational comedy is warm and affectionate but no less biting in its wit for this.

    For a great comedy experience catch the boys at the Edinburgh Fringe or at the Edinburgh preview show:
    ‘PowerCouple: 1st-25th August 2013  London Previews: Monday 29th July 2013, Comedy Café Theatre, Shoreditch, London
    Follow them at: facebook.com/powercouplecomedy or on Twitter: @PowerCoupleUK, @StephenComedy, and @GaryJohnSenior

  • THEATRE REVIEW | Address Unknown, Soho Theatre

    ★★★★ | Address Unknown

    Is it possible to explain the incomprehensible? How can anyone begin to understand what would make a man abandon a deep friendship in favour of joining a radical political movement? ‘Address Unknown’ is a stunning play from 1938 in which Kathrine Kressman looks at just these issues.

    Max and Martin are close friends with strong bonds but when Martin moves back to his native Germany a rift grows between them; a rift that will eventually lead to rejection, betrayal and revenge. The problem being that Max is Jewish and Martin is beguiled by the emerging National Socialist Movement and becomes an official in the Nazi party.

    Max and Martin are close friends with strong bonds but when Martin moves back to his native Germany a rift grows between them; a rift that will eventually lead to rejection, betrayal and revenge. The problem being that Max is Jewish and Martin is beguiled by the emerging National Socialist Movement and becomes an official in the Nazi party.

    It’s a powerful piece, well staged and well acted by the two men and is much more than a dry political commentary. The story is a very human one which subtly unfolds in a well paced and intriguing manner and makes the audience both squirm in horror and laugh with glee.

    It’s a powerful piece, well staged and well acted by the two men and is much more than a dry political commentary. The story is a very human one which subtly unfolds in a well paced and intriguing manner and makes the audience both squirm in horror and laugh with glee.

    He has a good point. Essential viewing for our modern times.

    ‘Address Unknown’ runs at The Soho Theatre until the 27th of July 2013

    Book tickets here: http://www.sohotheatre.com/whats-on/address-unknown

  • THEATRE REVIEW | Sweet Bird Of Youth, Old Vic, London

    ★★★★★ | Sweet Bird Of Youth

    I have to confess that I attended The Old Vic with a sense of dread. As much as I love Kim Cattrall, as good a reputation as the theatre has, I couldn’t help but think that this was going to disappoint me.

    The problem is that I’m a massive fan of Tennesse Williams and love the 1962 film version of “Sweet Bird of Youth” and who could match the powerful performances of Paul Newman and Geraldine Page? I was wrong to doubt them. This was an awe inspiring piece of theatre which left me breathless and wanting more.

    The play opens with ageing actress Princess Kosmonopolis (Kim Cattrall) passed out drunk in a hotel bedroom whilst her companion, gigolo Chance Wayne (Seth Numrich) paces nervously, swigging vodka. Chance is a drifter and opportunist with a string of misdemeanours and failures and has hooked up with the Princess (a pseudonym) who is in hiding after a disastrous film premiere, to enable him to return to his hometown in search of the girl he left behind there.

    Both characters are self proclaimed monsters with insecure vanities and fears and regrets. They’re incredibly likeable and attractive monsters though and they manage to reflect the foibles we all have to greater or lesser extents. Numrich is delectable and as he swaggers and lurches about the stage he exudes a fragile masculinity, tinged with vulnerability. He’s also incredibly attractive and has a body which made me shuffle in my seat. Cattrall preens, lurches, has tantrums and breakdowns and is utterly convincing in her role as she wanders round in disarray, popping little pink pills and swigging liquor. The two leads are both exceptional and are well supported by a large cast.

    The staging is also worth commenting on with a versatile and stylish set which transforms from hotel bedroom, to bar room to Southern mansion exterior.

    I’d definitely recommend this play. It’s an absolute tour de force and a stunning take on a rarely seen classic play.

    ‘Sweet Bird of Youth’ runs at The Old Vic until: 31st of August 2013