THEGAYUK

Tag: Three Star Play Review

The latest Three Star Play Review from THEGAYUK.

  • 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 | 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 | 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!

  • THEATRE REVIEW | The Freedom Of Freewill, Doncaster Cast Theatre

    ★★★ | The Freedom Of Freewill, Doncaster Cast Theatre

    Doncaster has a rising star. Nestled amongst the urban redevelopment of the town centre, proudly placed at the side of a large open space is the Cast Theatre. There is little doubt that this impressive little theatre is going to be the centrepiece of Doncaster’s growing cultural scene. Providing a mixed programme of everything from comedy to jazz, modern dance to international acts, Cast also has one significant thing at heart – the community.

    TGUK was kindly invited along to a performance of “The Freedom of Freewill”, am abstract piece of contemporary dance, which was thought provoking and visually interesting; exploring the best and worst of human nature. Asking the question about what is freedom, and is one person’s freedom actually another person’s oppression, the show combined music, dance and visual imagery to confront the audience with images and themes which pushed at comfort zones and garnered a genuine reaction from the audience. The six young local dancers were talented and contorted into a number of shapes using their bodies, challenging the audience and forcing different viewpoints to be considered. The show is now embarking on a European tour, but it was a credit to the young performers and the production company, Urban Conceptz Theatre, who created and produced in association with Cast Theatre.

    That is where Cast Theatre is a little different. It nurtures local talent and offers an opportunity for all to be part of it – whether that is through one of their open auditions or simply as a welcome member of the audience. The venue itself is a modern and fresh looking building, all straight lines and right angles from the exterior, but inside, giving way to curved architecture and providing a visually interesting foyer, which extends the length of the building. One of the things that was immediately noticeable was the friendliness of the staff, who were more than helpful and polite. The foyer harbours a café, which provides three menus throughout the day and a selection of drinks, which is ideal for that pre-show tipple or some tapas to share with friends.

    Inside the theatre itself, it is a small and intimate venue, with very comfy seats and, for those tall ones amongst us, a generous amount of leg room. The modern interior was striking and the large tubular chandelier with its neon pink lighting looked perfectly in place. The sound in the auditorium, for this performance, was crystal clear, loud and full of bass, which suited the show perfectly. The air conditioning kept an ambient temperature, whilst never being invasive and the closeness to the stage drew you right into the performance.

    Cast was an absolutely delightful venue and one which genuinely deserves the support of the local community and those in its proximity. It is the equivalent of those little independent niche cinemas that have been springing up all over the country and its blend of independent productions of song, dance, theatre and music provide for one unique venue.

    Cast is a theatre which is a little different. It provides a performance venue for the community and specialises in its own productions, providing an opportunity for talent, both from the local area and beyond, to perform. They are one of the sponsors of Doncaster Pride 2014 and their venue will be the backdrop to this year’s re-launched Pride event. The team from Cast will be there on the day; alongside The Gay UK who will also be there; some come and find both of us and say hello.

    You can find out more about Cast’s upcoming productions by visiting their website (http://castindoncaster.com/ ); following them on Twitter (@castindoncaster) or on facebook (https://www.facebook.com/castindoncaster)

  • THEATRE REVIEW | Daytona, Theatre Royal Haymarket

    ★★★ | Daytona, Theatre Royal Haymarket

    In a recent interview, Maureen Lipman said that this is ‘unquestionably the best role’ of her career and she’s not wrong. Lipman is jaw-droppingly stunning in the strictly limited season of Daytona at the Theatre Royal Haymarket.

    Daytona is an intimate 3-hander show which tells a story of missed opportunities and what-ifs. Without sharing too much, an Elderly Jewish migrant couple Elli (Maureen Lipman) and Joe (Harry Shearer) are living out their twilight years ballroom dancing and going through the motions of a long and seemingly happy marriage. One evening, whilst Elli is getting last-minute alterations to her dancing dress, Joe’s brother, wild-haired and Hawaii shirt wearing, Billy (Oliver Cotton, who also wrote the play), knocks at the door, after a 30-year estrangement. He tells Joe that he has taken drastic action on a man from their past, he believes was a particularly violent and murderous Nazi during the war, whilst on his holiday, in Daytona.

    His regaling of the story takes up the majority of the first half and is longwinded. The true horror of the back-story fails to register fully – as Billy launches into monologues, so long that they had me looking at my watch. It’s not to say that the emotions weren’t there, but the importance and the investment in the story that an audience needs in the characters and their story are lost with the length of time it takes to get there. It felt as though the audience was lost during the swathes of dialogue.

    It’s not until the second act that the story becomes interesting and Lipman’s competence in ruling the stage is truly felt, reminding us of her abilities as a superb and subtle actor. If only it hadn’t taken so long to get there. There is a captivating monologue where Lipman opens up her character to show an emotionally bereft woman who has only just managed to cope with a life that was forced upon her. A romantic attachment, albeit brief, is quite breathtaking.

    Until 23 August. Box office: 020 7930 8800. Venue details: Theatre Royal Haymarket, London http://www.trh.co.uk

  • THEATRE REVIEW | The Roof

    ★★★ | The Roof

    A door opens and an immaculate figure steps out onto a roof. Knives are sharpened and the game begins. Set within the suspended reality of a brutal and unforgiving game, this mix of intimate three-dimensional sound and free running aims to transport the audience into the body of a reluctant hero, desperate to stay alive.

    Following Electric Hotel and Motor Show, The Roof is Requardt and Rosenberg’s third production and takes place in a purpose-built arena designed by Jon Bausor, set designer for the London 2012 Paralympic Opening Ceremony.

    The Roof is a blend of dance, free-running inspired moves and surreal fragments of disconnected stories. Staged in a car park at the back of The National Theatre, the set is a multi-level 360-degree panoramic creation. A figure emerges and begins trying to complete levels on a game, aiming to rescue a D.J. trapped in a small box representing her brashly decorated bedroom. The game is one that the audience, standing watching, are immersed in via headphones and witty sound design. The opening moment where a heavy breathing figure appears to run across the gravel, approach you from the back and whisper into your ear was inspired and left the audience all looking round in alarm.

    It all sounded really exciting. The rain held off, the audience stood poised for a unique and immersive experience but sadly, the show failed to deliver. The free-running element felt tired and relentless and lacked thrill. I’ve definitely seen better examples of free running. The narrative felt slightly contrived and weak with a script that didn’t always work and the dance moves, although imaginative, failed to glue the piece together. The costumes were inventive and wouldn’t have looked out of place on a t-shirt designed by a hipster from Hackney (women in 70s suits with rabbit faces with no eyes, surreal drum majorettes and people with triangular heads).

    I liked elements of the show (mainly the really clever and immersive sound design and the occasional glimpses of humour) but on the whole the show left me a bit cold, in spite of it being a warm night. Looking round at the rest of the audience and a lot of slightly bored expressions, I could see I wasn’t alone in this.

    The Roof runs until 28th of June 2014

    Buy tickets here: www.liftfestival.com

  • THEATRE REVIEW | One Man, Two Guvnors – Sheffield Lyceum and National Tour

    ★★★ | One Man, Two Guvnors – Sheffield Lyceum and National Tour

    Francis Henshall is a con man finds himself in trouble when he ends up working for both an underworld crime lord and a slightly dim toff, without ever letting on that he has two jobs. But the two “guvnors” are not quite what they seem and there is a link between them. Comedic chaos ensues as he is both helped and hindered by a variety of characters and as he tries desperately to keep his bosses apart. But with love beckoning, the promise of a good meal and an increasing number of jobs to complete, will he get the girl?

    Presented by the National Theatre, the show was a comedic blend of old fashioned physical comedy, a script packed to the brim of one liners and traditional British farce, all of which had the audience laughing out loud. The comedy was very much traditional British humour – being, at times, reminiscent of the late 70’s comedy performers like Morecombe and Wise and Benny Hill, with the show moving from clever wordplay to slapstick to saucy humour with ease. The over the top characters were boisterous and fun and played heavily on exaggerated stereotypes with success.

    Each cast member put in a good performance throughout the show, but the night undoubtedly belonged to Gavin Spokes who put in an excellent performance as the lead character, Francis Henshall. His physical comedy, clever ad libs and delivery of the script combined with his natural charisma were a winning combination. However, closely following him was Michael Dylan with an absolutely hilarious, scene stealing performance as Alfie, the decrepit elderly waiter. It was clear that the cast were thoroughly enjoying themselves and their improvised comments, laughter and interaction with the audience only added to the anarchic atmosphere.

    The set was well constructed and detailed, with the scenery being changed behind a gold curtain whist a talented four piece beat combo, The Craze, performed a handful of songs, sometimes joined by various members of the cast. These musical interludes were enjoyable and helped to pace the show as a whole. The sound was clear and allowed the audience to hear clearly what was being said, which was important given the swiftly moving dialogue. Overall, the production values were of a high standard, which is no less than anticipated from this National Theatre Production and the show was surprisingly funny, with the riotous latter half of the first act being the pinnacle of the show, having the audience in absolute fits of laughter.

    If any criticism were to be levelled at the show, it is perhaps that it was a little long (with a running time of two hours ten minutes) and whether it would stand repeated viewings is uncertain, but the show was certainly laugh out loud funny and worthy of a watch.

    “One Man, Two Guvnors” is currently at the Sheffield Lyceum http://www.sheffieldtheatres.co.uk/event/one-man-two-guvnors-14/ until the 24th May 2014 before continuing on its extensive national tour http://www.onemantwoguvnors.com

  • THEATRE REVIEW | Boeing, Boeing – Sheffield Crucible Theatre

    ★★★ | Boeing, Boeing – Sheffield Crucible Theatre

    Bernard thinks he has the perfect life living in Paris. He is engaged to three Air Hostesses, and uses the flight timetables to keep them apart and make them think that each of them is his one and only. As the three women in his life fly out to America, Germany and Italy, he ensures that his love life runs smoothly. But when the flights don’t adhere to the timetable one evening, Bernard finds his perfect life falling apart, as each of his three fiancés turn up at the home that they think they share with Bernard. With the help of his best friend, Robert, and his long suffering maid, Bertha, can Bernard keep them apart and maintain not only the facade, but also his love life?

    Sheffield Theatres present this revival of this 1960’s based, comedic, farcical play by Marc Camoletti. The feel of the piece was very reminiscent of the sitcoms of the late 70’s,having shades of the more subtle comedy of George and Mildred and, by contrast, bearing a very strong resemblance to the physical style of comedy in “Fawlty Towers” – the chaotic, panicked and increasingly complicated means of attempting to keep an escalating situation under control. There were also hints of more recent sitcom “Miranda”, with people entering and exiting the stage in quick succession.

    The cast of six held the audience’s attention with good delivery of the script’s one liners and some great comic timing. Notable cast members were Joseph Kloska who appealed with an animated performance as Robert, the nervous, flustered and naïve best friend. Lizzie Winkler was excellent as the intense German air hostess, Gretchen and Julia Deakin delivered all the best lines with an understated performance as Bertha, the long suffering and sardonic maid.

    Sheffield Theatres ably demonstrate why they have twice been awarded Regional Theatre of the Year with another quality production. The 60’s based set was simple but looked impressive, with its orange patterned wall paper and olive green sofa being very sixties chic. The stage was very well lit and the use of bold colour in both the set and the lighting looked impressive. The sound in the theatre was crisp and easily audible, and the costumes were great, in particular the air hostess uniforms, which looked absolutely beautiful, rounding off the high production values of the show.

    The show was a smart blend of physical comedy and a witty script and the audience found the whole thing very funny, with plenty of laughter echoing around the theatre throughout the evening.

    Boeing Boeing is currently playing at Sheffield Crucible Theatre until 7th June 2014. Details, trailer and booking details can be found at http://www.sheffieldtheatres.co.uk/event/boeing-boeing-14/

  • THEATRE REVIEW | Foreplay, King’s Head Theatre, London

    ★★★ | Foreplay, King’s Head Theatre, London

    Some of the greatest minds of the post-War central European generation, Theodore Adorno and his wife Gretel, Hannah Arendt and Walter Benjamin became caught up in a heady mix of sexual and intellectual intrigue, infidelity, rivalry and mutual obsession. Years later, with Benjamin dead and Adorno established as one of the leading thinkers of his time Theodore, Gretel and Hannah are invited to a meal by a mysterious young woman. When their host reveals that she has access to documents that could change their lives for ever, all three are forced to face the lies, jealousies and sexual proclivities that they have hidden for decades, as their loyalty to each other is tested to the utmost.

    A psycho-sexual thriller of betrayal and revenge, Foreplay takes us into the lives of some of the greatest intellectuals of the 20th century, exposing the chasm between the public and private, what is erotic and what is pornographic, and the uneasy relationship between genius and hypocrisy in us all.

    This is the world premiere of Carl Djerassi’s new play at the King’s Head Theatre and the staging of the production, the skill of the actors and the intimacy of the space would certainly do justice to the piece. The claustrophobic nature of the play is conveyed to perfection and there isn’t a weak link in the cast with some very strong performances, my favourite being Judi Scott as the fearsome Hannah Arendt.

    The problem for me was the play itself. In spite of a fascinating premise, some well placed humour and pacey dialogue, it felt less like a meditation on intellectual versus physical foreplay and infidelity but more like a virtual reality recreation of a particularly long and dry menopause. I suspect that had I known more about German 20th Century philosophers, political theorists and sociologists then I might have found the play more compelling. As it was, I found it mostly quite dull in content and even the intriguing human elements failed to hold my interest fully for long as the intellectual debates and parrying quickly took the sparkle away from any of the merits of the excellent production.

    In spite of this, it’s well worth seeing just for the clever set and the highly accomplished acting. The brief moments of humour are well placed and timed to perfection.

    The play runs until the 31st of May

    Buy tickets here: http://www.kingsheadtheatre.com/main.html

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

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

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

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

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

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

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

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

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