Beauty Queens and Murders

Well the East holidays went by in the blink of an eye, although it didn’t feel like that when I was in the middle of them. There was time with the ever enchanting and wonderful Mia, but also broken down car, trying to squeeze in all the things I need to do to produce – and direct – my play, into all the moments (like the odd hour) when I wasn’t looking after Mia. And as ever, there was theatre, from the sublime to the ridiculous. Literally.

I saw the the Southwick Players production of the Beauty Queen of Leenane at Southwick, which was absolute class. Stunning production in every sense. I couldn’t stop thinking about it afterwards: the story, the performances, the reflections on life. I mean who doesn’t love Martin McDonagh of course, he has a unique style: immersing you in the story as if you’re engulfed in a wave. It’s like standing in front of a Rothko painting the way Rothko intended, so that all you see is the painting. Like jumping into their world. Which is full of obfuscations so that you are always surprised, on the roller coaster of the journey, taking each moment by moment of sometimes bliss, sometimes humour, and sometimes madness or sadness. Stunning.

Then I saw, two days ago, Murder on the Orient Express at the Theatre Royal. As a huge Agatha Christie fan I was predisposed to like it: it’s a classic, it’s Poirot, it’s fascinating. But I – and I lot of the public, I heard as I was leaving (I always like to listen to the audience, it helps my perspective, for example, what am I thinking of the play compared to everyone else) – were left with a “oh. That was pretty good. I mean yeh, the set! Wow! The set was fantastic! But the whole thing – yeh, it was OK.”

I don’t ever EVER want to be involved in a piece of theatre where the public leave and say “hmm. Yeh, that was OK.” It would stab me in the heart, as a director, producer, writer or actor. You want your audience to feel something, even if they don’t like it, that’s them feeling something. But a shoulder shrug and ambivalence? Oh no.

And of course the set was fantastic. But the set should hold the play, not BE the play. You shouldn’t have a segment where the train is just spinning on a revolve in the stage showing all sides of the train compartments and ooh! Look! He’s rolling up a window blind. So? Do you know how long the book is? You’ve adapted this play from a novel, you’ve already had to cut out truck loads which might affect people’s understanding and you’re just showing us the train? For ages?

I know other reviewers have loved it, and I know it’s easy to get caught up in the wonder of being shown something that despite being in the theatre all the time, you’ve never seen before, and it’s new and exciting. Of course it is. But that doesn’t mean it’s groundbreaking theatre. And when you get an actor sinking to a chair doing the worst sob noises I’ve ever heard as if they are in a movie melodrama from the 1920s or 30s, almost with a hand to the forehead and wistful gasp – not only one actor, but two – then I want to blow raspberries at the stage, despite some really fine performances from some of the other actors. It’s the widest spectrum of actor capability I’ve ever seen in one single professional production actually, from really amazing to really awful. It’s so sad, I really wanted to love it.

Here is us at the beginning of the show. You can tell it’s the beginning. We are smiling and hopeful. Sigh. I did love Poirot though – so lovely to see his work as I’ve been watching him in various things for years and years – including in one of my favourite all time films: Truly Madly Deeply. Poirot was impassioned and great.

But we’re all different though, right? And mine is just one opinion.

Friday vs Saturday

What a weekend of theatre.

Well actually it’s been a week: Kinky Boots the Musical on Tuesday at the Theatre Royal, which was great. I had not seen the show before. Obviously I’m a massive fan of the film, and it was fun to see the show.

C’est Magnifique at the Tusk Club at the Walrus on Friday. These guys are exceptional. I laugh til I cry, I cry at the torch songs, I cry at the beauty of the choreography. Sometimes it’s good to feel a lot.

Then, The Approach at New Venture Theatre on Saturday. Stunning piece of theatre, simply stunning!

So from dressing up in style and being tres sophisticated one night to being the woman on her own with a notepad the next: I love theatre so much I wouldn’t have it any other way.

Andy and I being Tres Magnifique

And yet more theatre

As the end of March creeps towards us I’m looking at almost two months of theatre since my last update. And one of those was just for pleasure: a trip to London to see Inside Number 9: Stage Fright. So great to see those two on stage again: they are brilliant. And there always at least one twist that you just don’t see coming – I don’t care what anyone says, there is no way to anticipate some of the things they come up with. A great night out. Thanks to my mum for the Christmas present.

Among the many theatre critic visits are: Charlie and the Chocolate Factory, Peter James’ Picture You Dead, a play about menopause called Mid Life, and a totally sublime Macbeth from the unique This is my Theatre which was at my top spot for March for a couple of days until The Lion, the Witch and the Wardrobe completely blew me away. It was magical, phenomenal and breath-taking. I would have gone again every night that week if I could have. This was one of those moments where hubby Andy was very happy that I brought him along – he does not enjoy everything I take him to!

I’ve also been completely flattened by the illness. Not anything huge and serious but just enough to stop me in my tracks and stop me from doing all the things I want – and need – to do. It’s hugely frustrating and annoying. A bit like trying to climb a really long hill on a really rubbish old bicycle which doesn’t seem that steep, but after you’ve been doing it a few days, it makes you feel like crap and gasp for air. I still don’t have my voice back properly although I’ve gone from Barry White to Demi Moore (via a stereotype adolescent boy with his voice breaking) – all of which are an improvement – I think..? Blasted chest infection. I know it’s a chest infection and not just a cough, because of the rattle and crackle when I breathe in. I feel so exhausted all the time because of not getting to breathe deep enough. Hurry up and go already! I have a full week of stuff I need to do!!!

More Great Theatre

If you are a fan of musical theatre and want a great night out in Brighton, look no further than “C’est Magnifique” at The Tusk Club at The Walrus. Fun, sassy, sexy, surprising, super quality. Full review here

Identity Theatre produced “The Welkin” in October and that was stunning. Yes it featured many of my friends and colleagues but I do not write anything I don’t mean. Full review here.

“Savage in Limbo” was fierce at the Lantern Theatre, and making it into my top 10 favourite musicals: “Dear Evan Hansen” national tour at the Theatre Royal. So incredibly inspiring and moving, tears were shed, many many tears! The quality in the production is off the charts as well. I just loved it.

“Gwyneth Goes Skiing” made me howl with laughter – honestly like nothing else around. “Here You Come Again” – a feel good musical featuring a dream Dolly Parton, was gloriously uplifting.

And that’s just some of the amazing theatre out there. I’ve been so super busy it’s ridiculous. And off to another tonight. Life is there to be embraced!

Everybody’s Talking About Jamie

My first review for Brighton Source at Brighton Theatre Royal. This was the second time I’ve seen this show but this production was far superior to the first incarnation: the difference in the energy of the lead made all the difference. This is only the second time I’ve been in a theatre where everyone – every single member of the audience – spontaneously got to their feet to applaud at the end of the show. And it was worthy of that standing ovation.

Twelve Angry Men

Saw this on Monday at Brighton Theatre Royal. Absolutely brilliant. Loved it. Here’s the longer version:

Review on Brighton Source

Plus, not forgetting, Patrick Duffy (looks and fails to find gushing heart emojis) who I had a crush on aged about 6 (precocious child) when I saw him on TV in “The Man From Atlantis”. Such a privilege to see him in this on stage.