Reviews
Otherland
I love the Almeida, located just off Upper Street, London N1. It is sleek, stylish and serves lovely food and great, often groundbreaking, new plays.
Otherland is no exception. This hugely, dramatic, and expansive play explores womanhood in all its forms: lesbian, bi, queer, trans, or cis. Its central theme of love and connection tackles challenging topics head on. The production is ambitious, dark, dramatic, funny, and lighthearted combining realism with myth and sci-fi.
Harry (Fizz Sinclair) and Jo (Jade Anouka) are getting married, supported by enthusiastic friends. This chorus of women sing their affirmation and consternation about events as the play unfolds.
Both newlyweds experience profound changes and transformations. Harry, by transitioning into her authentic female self. Actively unlearning decades of assumptions and privileges, whilst enduring prejudice and ridicule from their family and society at large.
Jo, although attempting to unplug herself from heterosexual expectations finds herself pressured to become a surrogate mother to her new wife’s (Amanda Wilkin) much wanted baby.
This is bold and brave writing from Chris Bush, and informed, in part, by her own experience as a trans woman. Bush is uniquely placed to explore the rules and rigid expectations placed on mothers, daughters, wives, and lovers, and does so with love and empathy.
Ann Yee directs the production, which sometimes felt rushed and erratic. I was not convinced by the gothic mermaid and cyber episodes in the second half. Brace yourself for the explosion!
I loved the secret pool that was revealed in the second half, on a previously minimalistic set, brilliantly designed by Fly Davis.
Otherland gives us the opportunity to experience ‘others’ reality, whilst encouraging us to open our hearts and minds. An interesting night out.
Trudy Howson, LGBT Poet Laureate
February 2025
Tender
Directly opposite Shepherds Bush Market tube, the Bush Theatre with its long cosy bar and welcoming staff, showcases new plays.
(Image: Courtesy of Bush Theatre)
Tender written by Eleanor Tindall, is basically a love story between a Lesbian and a straight woman, but it’s a lot more complicated than that.
Ash (Annabel Baldwin) is a newly emerging Lesbian, starting a new life in a new flat and a new job. She’s happy, despite being stalked by her recently, jilted at the altar, male fiancée.
Ivy (Nadi Kemp-Sayfi) struggles with a history of self-harm and bulimia, her demanding brother, her heterosexual relationship, and her attraction to Lesbian porn.
These two women meet by chance in a coffee shop, and as their relationship develops, through a series of coincidences, it becomes apparent that they have far more in common than they realise.
The overall tone of the play is not tender. It’s intense, sexy and troubled. First person narrative drives the somewhat meandering storyline. Confusingly, the part of both the male characters, Ivy’s brother Cas and her boyfriend Max, is voiced by Ash.
There are some laugh-out loud moments, such as Ivy’s foray into a gay club called Aphrodykey, showing the awkwardness of both women as they nervously circle around each other.
But the sexual chemistry between Ash and Ivy is palpable from their first, awkward, meeting, later resulting in the best Lesbian sex scenes I have ever had the pleasure of seeing onstage.
Go and see this play and decide for yourself. Take a girlfriend or a potential lover! You’ll have plenty to talk about later.
Trudy Howson, LGBT Poet Laureate
November 2024
Why Am I So Single?
The Garrick Theatre is a magnificent example of Victorian architecture, bedecked with gleaming golds and crimsons, curling staircases and old-fashioned glamour. Stepping into it feels like a special night out.
Toby Marlow and Lucy Moss, who previously wrote the global mega hit Six the Musical, describe their latest project, Why Am I So Single? as a big fancy musical about online dating. It doesn’t disappoint.
Online dating is a very hot topic! It seems every single (and sometimes not single) person I know does it. Although this show features mid-twenty somethings, its premise is applicable to people of every age.
The production opens in Oliver’s (Jo Foster) cosy flat, where they and their best friend Nancy (Leesa Tulley) discuss the best way to navigate the hit and, mainly miss, world of online dating. The audience is engaged and included in their conversation right from the start.
As the friends discuss making a musical out of this dilemma, in an attempt to solve it, the ensemble cast turn into items of furniture (fridge/curtains/dustbin etc), a brilliant design by Max Johns, and one of the many unexpected witty and hilarious twists and turns of this very entertaining show.
The musical numbers are in the main fantastic. Full of fun and energy, with wonderful choreography (Ellen Kane). The songs are drawn from a myriad of musical influences: Blockbuster 80’s musicals; Gay Disco; Rock; Soulful Ballads. Particular favourites were: The theme song, 8 Dates, Meet (meat) Market and Men R Trash.
Why Am I So Single? celebrates the loving friendship of heterosexual Nancy and Queer Oliver. They agree and disagree, but essentially, they support each other. Both of them sing and dance well. Their characters and their friendship feel authentic.
This musical also examines the validity of the romantic myths about heteronormative relationships, and the fear and self-loathing that can cripple anyone who doesn’t fit into narrow binary categories.
Highly recommended as a fun-filled, thought-provoking evening out.
Trudy Howson, LGBT Poet Laureate
September 2024
Cowbois
This production of Cowbois was shoe-horned into the Royal Court season at the last minute due to the cancellation of Dana H.
Transferring from the Royal Shakespeare Company, Cowbois galloped in to save the day. A theatrical adventure in wonderland, which turns out to be one of the best, most hilarious and challenging, productions of The Royal Court’s current season.
Written and co-directed by talented, non-binary champion Charlie Josephine, of I Joan at The Globe and Bitch Boxer at Soho Theatre, Cowbois is a joyful, queer subversion of the cowboy Wild West genre. It is part pantomime, part political manifesto, and a whole lot of yeehaw!
The action is set in a bar in a sleepy Western town. A place where all the men, apart from the drunken sheriff, have left to join the Gold Rush. The remaining women are bored and frustrated. Swaggering into this conservative environment comes Jack, a handsome charismatic trans-masculine outlaw who provokes a gender revolution. All hell and heaven break loose.
A live four-piece band accompanies the action on stage which includes, as well as some great songs, line-dancing, jokey shoot-outs, a sexy bath scene and a drag king cabaret spot.
All the characters are brilliantly played by the original RSC cast and the costumes by Grace Smart are wonderfully over the top.
Josephine’s clever deconstruction of heteronormative standards and their presentation of a queer, female, non-binary, and trans alternative, is life affirming and celebratory.
The audience whooped and cheered throughout. A good night out and highly recommended.
Trudy Howson, LGBT Poet Laureate
February 2024
Brokeback Mountain
Soho Place is the first newbuild theatre to open in the West End for fifty years. It rises from the ashes of the old Astoria theatre. Very convenient for Tottenham Court Tube and Soho Square. It’s glossily chic, with an in-the-round performance space, and a restaurant and cocktail bar on the ground floor.
Brokeback Mountain is its first world premier with American stars Mike Faist (Jack Twist) and Lucas Hedges (Ennis Del Mar) playing the leads, in this stage interpretation of Annie Proulx’s beautifully written short story.
Many of us will have seen the celebrated film version by Ang Lee. This production is completely different, so don’t expect beautiful cinematic landscapes. It is up close and personal. Faist and Hedges emotional connection and impressive physicality fill the auditorium.
We watch as the two rough mannered, tough-speaking cowboys Jack Twist and Ennis Del Mar, meet on a sheep herding job on the Brokeback Mountain in Wyoming. They are both just nineteen and during their time together, on those lonely hills, they fall head over heels in lust and love with each other.
Their story unfolds through the eyes of a much older Del Mar. Alone now, remembering the relationship that he had with his lover, and the passion that gripped them both for twenty years.
Ashley Robinson’s script keeps close to the original story text, authentically capturing the world of those cowboys. Reflecting their speech, their silences, their behaviour and heartbeat.
The music by Dan Gillespie Sells, is an atmospheric blend of blues, country and classical music, with a Balladeer (the wonderful Eddi Reader) who steadily draws us into the raw emotional core of the story.
Homosexuality was still illegal during this period, and brutal homophobia was commonplace. Consequently, both men married and had children, unsurprisingly their marriages fail. Emily Fairn was impressive as Alma, Del Mar’s quietly disappointed wife.
The lovers live double lives, meeting infrequently over a twenty-year period, always worried that they might be exposed, a feeling that is still sadly familiar for many within our LGBTQIA community.
This is a play about homosexual love, masculinity and the hardship of rural life in the American outback circa 1963. I recommend it as an opportunity to step back in time and place for a ninety minutes’ engagement with LGBTQ Cowboy life.
Trudy Howson, LGBT Poet Laureate
May 2023
Es & Flo
Secrets and their consequences are at the heart of this moving and tender play by Jenifer Lunn, that explores and celebrates the long-standing relationship between two older Lesbians.
Es and Flo met at Greenham Common in the 80s and are now, 40 years later, still very much in love and living together in Es’s house.
The vibrant sexual chemistry between Es (Liz Crowther) and Flo (Doreene Blackstock) is clear, and a reminder that passionate love doesn’t necessarily diminish with age.
But their sexual relationship is a secret one. Es is firmly entrenched in the closet and hasn’t told her family or made any kind of legal provisions (civil partnership, next of kin, power of attorney) for her lover.
All is well until Es begins to develop dementia. Both women find this difficult to come to terms with, and Flo struggles to cope with her partners increasing care needs.
Into this fragile scenario steps Beata, (Adrianna Pavloska) a pragmatic, but kind, care worker, and her daughter Kassia (Chioma Nduka), who has been instructed by Peter, Es’s son, to help out. This is without any prior consultation with Flo.
Peter doesn’t actually visit his mum but communicates through his browbeaten wife Catherine (Michelle McTernan) that he requires power of attorney as he plans to sell Es’s house and move her into a residential care home.
Flo is brusquely thanked for being a good friend to his mother, “But family are taking over now.” Flo is terrified that she is powerless to stop the couple’s happy life together being wrenched apart.
I loved the coup de theatre split level set design by Libby Watson, showing the contrast between the couple’s cosy domestic home life and the foreboding hospital scenario, awash with fear. Also, the way the lovers shared history was depicted by projected images and sounds of the period interspersing the action on stage.
This is a thought-provoking play which, through its interracial and intergenerational all female cast, illuminates the strength of female relationships, and their ability to surmount the seemingly unsurmountable, just as they did at Greenham Common.
It is also a poignant reminder of the importance to establish legal rights to protect each other, particularly for older closeted gay couples, of any gender.
Trudy Howson, LGBT Poet Laureate
June 2023
Jock Night
Situated in the heart of Theatreland, the Seven Dials Playhouse is a beacon of support for innovative theatrical productions. The venue is small, but perfectly formed, and the performance space thrillingly up close and personal. Jock Night is presented in association with Hive North, a company who specializes in LGBTQ+ themed productions.
The audience was mainly male, mainly gay and mainly excitable. We sat, not too quietly, in the auditorium observing the bedroom of Ben’s flat, nicely decorated, nothing fancy. It feels cosy, domestic, in spite of the fact that the double bed centre stage clearly has occupants within it.
As the duvet is pulled back we engage with the dramatic thrust of this show which is sex, sex and more sex. In particular, ChemSex. In various combinations of participants, two/three/foursomes and positions.
Within that scenario it illuminates the friendships based on being part of that particular scene, and the short and long-term impact that ChemSex has on their lives.
The writing and direction by Adam Zane is concise, non-judgmental and often very funny. The production feels like an edited version of CH4’s brilliant Queer as Folk, in which Zane appeared, transferred to stage. There are many references to Coronation Street interspersed throughout, just in case we don’t realise that the play is based in Manchester.
Big, tattooed, bearded Ben is played by David Paisley (plays Ben in BBC’s Holby City) and is the caring 'Daddy' and facilitator for the other lads. The rest of the cast enact gay stereotypes, most of which are hilariously accurate.
As the story unfolds, it becomes apparent that low self-esteem and loneliness can sometimes lead young men into ChemSex addiction, and dangerous, life-threatening situations, when what they are really looking for is a loving stable relationship.
There is lots of sex and laughter in this show, but there is sorrow too. It’s a thought-provoking theatre piece, based on real life interviews. Well worth a visit.
Trudy Howson, LGBT Poet Laureate
October 2023
Sound of the Underground
Don’t you just love the Royal Court Theatre? It’s hip and friendly. It’s conveniently located, right next to the underground station. Its downstairs Bar & Kitchen feels like a party, and it cultivates aspiring playwrights, hosting an eclectic, cutting edge programme of new plays.
Their latest production Sound of the Underground is no exception. Described as an ‘open collaboration,’ and devised and written by the multi-talented Travis Alabanza (Drag Performance Artist and Burgerz creator) and in house director Debbie Hannan.
This production is a hybrid performance piece: part theatre, part cabaret, part agitprop. Performed by a cast of professional drag artistes and drawing on the expertise of the many queer workers within that industry, it is a homage to the underground drag scene. Alabanza describes that scene as “Messy, entangled, fragile, glorious”. This production illuminates its style, resilience and rich diversity.
During the prologue (The Takeover) Lilly SnatchDragon, Chiyo, Sadie Sinner, Midgitte Bardot, Wet Mess, Rhys’ Pieces, and Sue Gives a Fuck, sashay onto the stage and engage with the audience. They are flirtatious and provocative. They are also fed up with being sidelined and exploited. This prologue sets the tone for the rest of the production: Fun but Fierce!
The short first act doesn’t work so well, set in a suburban kitchen. A reference perhaps to the Royal Court’s history of promoting ‘kitchen sink’ drama? The initial dialogue, interspersed with long pauses is confusing and lacks momentum, improving only when the cast congregate and decide to set up a union and take action against the exploitation and sanitization of Drag by mainstream media.
They step offstage, with collection boxes, asking the audience to supplement their wages, then symbolically kill a Ru Paul mannequin stuffed with money.
Act two (the Business). The cast and technical crew dismantle the set until the stage is bare. It is then that the real bones of the performers’ professional lives are revealed. The cast roam the stage in synchronized choreographed movement, lip-synching prerecorded interviews of their experiences of working within the drag industry. It is both dramatic and engaging.
This authentic narrative reveals their fears that commercialization is crushing the heart of drag. Their passionate conviction that ‘drag’ is an art form not just decorative. That drag is, by its very manifestation, subversive. That it challenges our preconceptions of gender, sexuality, race, the physicality of who and how we are.
After the interval the second half (The Dream/Their Arrival) is a celebration of just how funny, moving and downright filthy drag acts can be. It’s an opportunity for the cast to strut their stuff. The glamorous Sue Gives a Fuck comperes, smoothly interspersing each act with a potted history of drag through the ages.
After the interval the second half (The Dream/Their Arrival) is a celebration of just how funny, moving and downright filthy drag acts can be. It’s an opportunity for the cast to strut their stuff. The glamorous Sue Gives a Fuck comperes, smoothly interspersing each act with a potted history of drag through the ages.
The diversity of content, costume and sets is thrilling. Watching drag on a big theatrical stage rather than squashed into a small dark space is a fabulous spectacle.
The audience whoops and shouts with delight as Midgette Bardot is mechanically hoisted aloft whilst singing about hot piss. Is dazzled as Sadie Sinner’s voice and persona light up the stage. Mesmerized by Wet Mess’s physical gravitas and darkly humorous characterization. Tantalized by Sharon le Grands cheeky rendition of ‘Touch my bum.’ It’s all great fun.
Suddenly, we are stunned into silence as mid act, Chiyo breaks down and reveals the contrast of their life on and off stage as a trans man. Reminding us of the prejudice and hatred that those ‘who look, or are different,’ are subjected to on a daily basis.
The cast come together to comfort Chiyo singing in unison Sound of the Underground. As the curtain falls.
This show does more than just entertain, although entertain it certainly does. It reveals the authentic voice of the underground drag scene. Reminding us that this genre is about more than fabulous frills and flounces.
It’s a thought provoking show, inducing loud and lively conversations within the audience, afterwards in the bar, theatre foyer, street and even in the underground on the way home.
Trudy Howson, LGBT Poet Laureate
January 2023
My Son’s a Queer (but What Can You Do?)
My Son’s a Queer (But What Can You Do?) is an autobiographical musical theatre production, now showing at the newly renovated Ambassadors Theatre (still gloriously iconic, but now accessible). It is, a celebration of queerness, and unconditional familial love.
This one-person show, created and performed by Roy Madge, is hugely entertaining. Combining live action, with screenings of old family videos. The production was conceived whilst Madge was sharing home videos with others on TikTok, during lockdown.
We are guided through a nostalgic journey of Madge’s childhood, via the video footage which depict the four-year-old theatrical prodigy performing and (bossily) directing the cast in a number of shows over the years. Clearly devoted, parents and grandparents happily providing additional cast, props and costumes. The videos are hilarious and heart-warming.
In-between the videos, Madge shares their childhood experience. The narrative is witty and relatable. They describe an obsession with frilly frocks and wigs and everything theatrical. The hilarious school reports during this period as they struggled to fit in at school and be ’normal.' The daily bullying they endured. (Madge’s mother became a dinner lady at the school to stop it). How their life changed when they went to theatre school and met their thespian tribe.
Now, with all those years of performance experience behind them, Madge is an accomplished comedic performer with a great voice and the theatrical gravitas to really rock the stage.
I particularly enjoyed the videos. I just love his family! They are ordinary (extraordinary) working class people. The kind of family every LGBTQIA person would wish for. Offering unwavering love and support to their child, who was clearly different. Who had an immense artistic talent. Who didn’t want to have to choose to be he or she. Because of that loving parenting, they gave their child the greatest gift: Confidence to live their authentic life.
So many of our community feel confused, ashamed and isolated in relation to our family. I’m sure that many families with children like us feel the same way. This musical’s message to parents is: Encourage your child to be what they want to be, then let the magic happen!
This is a slick West End production directed by Luke Sheppard who has been involved with the show from its onset. It’s packed with Glam & Glitter but is also tender, depicting the trials and tribulations of growing up knowing you are different. Of wanting to be Belle rather than the Beast and wear yellow dresses and red wool wigs.
The songs composed by Pippa Cleary are witty and catchy, beautifully sung by Madge, and sum up the emotional thrust of the show. We will be loved Anyway being a particular audience pleaser. I adored the costumes, by Ryan Dawson Laigh; lots of colour, frills and flounce.
Rob Madge says that they want this show to “Redefine queerness as joyfulness.”To be a contrast to the tragedy and trauma so often present in queer film and theatre. I think they have achieved that wish.
A happy, entertaining night out, that gives us all hope for the future.
Trudy Howson, LGBT Poet Laureate
February 2023