Category Archives: Theatre

THOROUGHLY MODERN MAN: Spinach, King’s Head

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The programme for Spinach promises “thrills, abductions, pills, attraction [and] prescriptions”.  For this (along with the cover art) you might be expecting a raw, gritty piece exploring a dark, seedy underworld of rave culture.

Yet, as a musical, Spinach turns your expectations on their head – not only of what the production entails but what a musical should be.  As soon as the music starts comedy ensues, though distinctly of the black variety.

Kate (Cassandra Compton) and Tom (Ben Gerrard) wake up with amnesia, tied to each other, with no idea where they are or how they got there.  As the plot unfolds, their memories return as they piece together the preceding events – with a little help from Maureen (Claire Greenway) and Darren (Craig Whittaker) who take part in alternative scenes out of the narrative time frame.  The plot is absurd, its twists and turns as unexpected as they are unlikely, but it’s no less enjoyable for it.  After all, musicals often require an element of suspending disbelief.

The musical style does not have the typical musical structure.  Instead, it takes the form of speech-song, like an extended recitative.  This is the source of much amusement (“the repetition of haloumi kebab” in song never gets old), though accompanied solely by piano, the music does become a little repetitive.

In keeping with the speech-song style, the fragmented melodies didn’t allow for long lyrical phrases to show off the voices of the performers.  However, Compton certainly stood out for her vocal ability as the cutesy Kate, whilst the chiselled looks of Gerrard, best known for his work in Hollyoaks, made a suitable partner.  Whittaker’s laddish Darren had plenty of comedy moments with Greenway’s Maureen – Greenway especially shone in hilarious fashion for both her singing and saxophone playing.

The cast as a whole should be commended for their sheer effort in singing constantly for eighty minutes without an interval.  Yet Spinach is moreover impressive simply for confounding expectations – a musical-play filled with comedy and thrills in equal measure.

Continues at The Kings Head Theatre until 7 July, book here.

Written by a Thoroughly Modern Man, Ed Nightingale. Check out Ed’s blog, The Gizzle Review here.

Making Noise Quietly, Donmar Warehouse

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Last time I was at the Donmar I was awestruck by Jude Law performing only metres away from me! This time I was coming to see a younger and less famous, but equally talented, star. My friend Matt Tennyson is one to watch on the London theatre scene and this impressive performance certainly supports that.

The current show at the Donmar is made up of three short plays by Robert Holman, an underrated and definitely underperformed playwright. Each script touches on the devastating effects of wars in different eras, each provokes very human reactions.

I found the first play by far the most engaging and endearing, to the credit of the writer and actors. We watch two curious young men picnicking, nibbling at cheese and cherries whilst picking apart each other’s agendas. It was beautifully acted, Matthew Tennyson playing an openly gay artist, Eric Faber and Jordan Dawes as Oliver Bell, a naïve but inquisitive farmer lad. As they engage in menial conversation a friendship blossoms; in the background German bombs boom.

Removed and uncomfortable, the second play is odd and I found it difficult to concentrate on the action before me. Geoffrey Church (John Hollingworth) visits May Appleton (Susan Brown) to inform the woman of her son’s death in the Falklands War. Geoffrey barely interacts or speaks, it is almost entirely a monologue from the older troubled wife and mother who seems to have never quite understood her proud son. Again it is a meeting of total strangers and yet this time I felt less connected.

‘Making Noise Quietly’ is the third and final play of the night. Holman’s script is filled with friction and angst and though at times passionate and moving, the realisation is not quite effective. Now wealthy, concentration camp survivor Helene Ensslin (played by a sensitive Sara Kesterlman) allows an obnoxious British squaddie and his mute autistic stepson to stay with her. It is never clear why these strangers have been brought together and this consequently makes the play rather difficult to believe. Of the three actors, I most enjoyed watching Jack Boulter as Sam who is impressive as the youngest member of the cast.

Despite its flaws, it was a joy to discover Robert Holman’s intensely real and raw play, and very enjoyable to watch Peter Gill’s inspired production.

Visit the Donmar Warehouse website here for more information.

THOROUGHLY MODERN MISS: Posh, Duke of York’s Theatre

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The Posh boys are back. With an updated script and a new political background, this is a production that depicts today’s social issues with frightening accuracy, shocking humour and thankfully very little tact.

The ten members of the Riot Club are together again for their termly dinner, an evening of toasts, forfeits, musical chairs and general drunken destruction. The evening begins to turn sour when only nine birds are discovered in the ten-bird roast, an insult from the pub landlord, who comes to represent the now ruling working class.

Endless amounts of alcohol are consumed as the conversation ranges from the obscene to the obsolete. Sex is high on the agenda and when the post main-course call girl refuses to comply with the riot club demands, the pack turns to Rachel, waitress and landlord’s daughter for amusement.

The pace picks up in the second half, with less round the table chatter, and the climax of the action comes suddenly and shockingly.  The hedonistic destruction of their private dining room is beautifully and elegantly choreographed, and it clashes disturbingly with the impulsive actions of the next scene.

The script is fast paced and the cast is excellent at maintaining their energy throughout. They make a convincing group, with simple but clear characterisation adding to their authenticity.

Some of the most enjoyable moments come in the form of the acappella group performances of modern pop songs, complete with beat boxing and harmonising. Although not immediately relevant to the plot, they serve to break the tension and add to the ultimate ridiculousness of the self important Riot Club.

For the politically minded, Posh is a stark portrait of the upper class, with a nod to some of the men that lead Britain today. It is a comment on the insular upper class ‘club’ and its ability to protect its members from failure and disgrace. And for those that simply want to see a great play; Posh is simply a riot.

POSH continues until 4 August, book here.

Written by a Thoroughly Modern Miss, Jenny Greenwood.