Precious Little Talent at Trafalgar Studios 2

A proud father, a frustrated daughter, an optimistic boy... these are the characters in Ella Hickson's sharp new play, ‘Precious Little Talent’. After the success of her debut, ‘Eight,’ Hickson brings us another impressive drama, written on the eve of her graduation.

Joey arrives in hectic New York to spend the Christmas season with her estranged father, who lives alone in a cramped flat.

George is beginning to suffer from dementia, he refuses to explain his condition to his 23 year old daughter, who has turned up unexpected, and uninvited.

Sam is pleased when he meets a pretty girl called Joey in Manhattan, they run round the city, share an impulsive kiss before she disappears. He works as George's carer, patiently looking after him and keeping him company.

In George’s home Joey and Sam meet again, there is an attraction, but also an obvious clash between Sam’s cheerful and positive outlook and Joey’s harsh cynicism. These opposing world-views hint at the politics of the time, Obama has recently won the presidency inspiring Americans with hope, while Joey in the UK has been stuck with a stale Labour government, and even after working hard through school and university cannot find work.

The Trafalgar Studios 2 is a tiny theatre that only seats one hundred, providing a second more intimate stage below the main auditorium. It is the perfect choice for this play, a drama that feeds off the claustrophobia. Lucy Osborne’s design utilises the small stage well, cutting diagonally through the audience. There are dark scene changes and flashing lights that effectively capture the pace and excitement of NYC.

The petite cast of three exceed expectations under the inventive direction of James Dacre. Anthony Welsh is a bright young actor, with a promising career ahead, he brings a touching humility and kindness to the role of Sam. Welsh is courageous and compassionate and completely magnetic to watch on stage. Joey is played by Sugar Rush and Lark Rise to Candleford star, Olivia Hallinan. With a lot of experience behind her she has no problems impressing in this powerful female role. She triumphs in her final reflective monologue. Ian Gelder is hard to fault too, a suffering man who shows glimmers of a bright personality through his grumpy exterior.

I was surprised at the instinctive nature of Hickson's writing, which captivates the audience. It is impossible not to sit up straight and concentrate, and at only eighty minutes, I was left wanting more.

Precious Little Talent continues until 30 April, book here.

Bent at The Tabard Theatre

I studied Bent at University so was prepared for the gritty narrative and shocking script. I went to see Martin Sherman’s play at the dinky Tabard Theatre in Chiswick, a theatre I have always wanted to visit.

Bent was written in 1979 and offers an insight into the persecution of gay men in Nazi Germany. The word ‘bent’ was the slang term some Europeans used to refer to homosexuals at the time. The original West End production starred Ian McKellen, and Richard Gere was in the first Broadway show in 1980.

The tiny Tabard is a suitable venue for this gripping play, and being so close to the action makes it almost unbearable to watch at times. Russell Morton gives the performance of a lifetime as the moody Max, he seems completely engrossed in the role throughout. Previously in the year Morton won a best fringe actor nomination with the same production at the Landor Theatre. Steven Butler is endearing as Max’s needy partner Rudy, although I did find myself getting irritated by his whiney voice. David Flynn is striking as Horst and works beautifully on stage with Morton. Flynn adds subtle nuances to his character that makes the two men's relationship even more believable.

The cramped space and dark set makes the whole experience terrifyingly claustrophobic. Barbed wire walls trap the characters on stage and two large Nazis trap the audience in their seats. Despite knowing the play I found this rendition deeply disturbing at times, sometimes almost having to cover my eyes. Director Andrew Keates has done an expert job on Bent bringing out the best qualities of Sherman’s play and adding more. I found the whole production deeply moving and thought-provoking and left the theatre teary eyed.

Although the Tabard is small it houses large talent, with this production of Bent fetching many glowing 4* reviews. With a lovely pub downstairs the whole venue has a friendly atmosphere. Throughout August you can see brilliant comedians like Alex Zane and Al Murray performing at the venue.

www.tabardtheatre.co.uk

STOMP - the drumming sensation

I have never seen anything quite like STOMP. The production combines percussion, movement and visual comedy. It was created in 1991 and nearly 20 years later STOMP still attracts a full theatre every night.

STOMP has been performed all over the world is currently showing at London’s Ambassadors Theatre. This theatre is smaller than most of Covent Garden’s Theatreland venues, but suits this show. The smaller space encourages the sound to resonate.

For the performers this is a show of epic proportion. With no interval they are onstage, almost constantly for the whole 100 minutes. I wasn’t really sure what to expect, apart from lots of noise! It turned out to be the most perfected noise I have ever heard. The eight cast members are spectacular, with unfaltering confidence and energy that indicates they know the show inside out.

STOMP doesn’t really have a narrative, instead it is made up of short sketches that revolve around the instruments they are using for that ‘number’. They don’t have standard drums, instead the characters use found objects - brooms, bins, pipes and anything else they can get their hands on!

This show is a real celebration of music and dance, and all inclusive. I guarantee by the end you will want to get up on stage and join in.

More information here: http://www.stomplondon.com/

Legally Blonde at The Savoy Theatre

I have waited what seems an age to see Legally Blonde the Musical.

Actually the show hit London’s West End only six months ago, after receiving seven Tony Award nominations in its first year on Broadway. Already the English are hailing it a sensation, with The Independent claiming it ‘perfection’ and The Times thinking it ‘delightful’. I haven’t heard a bad word about it and was surprised to hear that even my football crazed boss at work is a fan. So what is it about this musical that is so universally popular?

Both the music and words are written by Laurence O’Keefe. The music is cheerful and catchy, and the repetition makes it easy for audiences to remember the songs. The lyrics are ingeniously snappy and sharp-witted. But this production possesses something extra to make it as infectious as it is: a superbly talented cast.

There is nothing not to adore about Sheridan Smith. A bubbly blonde (in real life too) she has a very endearing, unaffected charm that makes her instantly likeable. But that’s not all, she has real star quality as well. Starting her musical career young in the National Youth Theatre it is no surprise that both her singing and acting are of the highest standard. The role of Elle Woods comes so naturally to her that this London production becomes just as much about Sheridan as it is about Elle. Any thoughts of Reese Witherspoon fly out the door.

I attended Legally on Richard Fleeshman’s opening night as the shallow Warner Huntington III. Despite being barely 21 years old Fleeshman excelled onstage and bounced off Smith’s theatricality beautifully. I could easily rant on about the other fabulous cast members: Alex Gaumond as Emmett Forrest, Peter Davison as Professor Callahan and Jill Halfpenny as Paulette Buonufonte, all three far exceeded my expectations.

Legally Blonde is a musical theatre masterpiece that deserves all the praise it has so far received. I can say, with no qualms, that it is the best show currently on in London’s West End.

Book now here.

Women, Power and Politics: Then and Now at The Tricycle

The Tricycle is putting on nine short plays this month on the topic of women in politics, all written by female playwrights. The plays are split into two sets, Then and Now, that together make up the best part of seven hours. An epic project that reminds me of Wagner's legendary Ring Cycle.

The Tricycle Theatre is building quite a reputation for its interesting topical programmes promoting the work of new playwrights. Tucked away in Kilburn the Tricycle has a friendly inclusive atmosphere, with an inexpensive bar and relaxed seating areas. I was impressed to see such a diverse audience attending a such a specialised drama.

There is too much talent to mention here, both on stage and behind the scenes. On the whole though I preferred the Then section of the day, the plays were wittier and scripts more engaging. My favourite play would have to be the brilliantly funny 'Handbagged' by Moira Buffini. It explores the relationship between Margaret Thatcher (Mags) and The Queen (Liz) and their fall-out in the 80s. Particular mention must go to Claire Cox who acted brilliantly throughout, she often made eye contact with the audience making her performance all the more engaging. The verbatim reports that sporadically appear are very enjoyable; they feature snippets of politicians holding forth from Edwina Currie to Nick Clegg.

All but one of the plays are directed exuberantly by Indhu Rubasingham. These shows can be seen together but stand equally well alone.

The Riverside in Hammersmith

The Riverside in Hammersmith has always got something new and exciting going on. The theatre 'aims to be London's pre-eminent space for risk, inspiration and creativity', and from my experience it succeeds in this mission tremendously.

The Riverside boasts many other wonderful assets too. The comfortable cafe/bar is situated in the centre of the building and is a lively and friendly place to sit pre or post show. My favourite thing about the Riverside is the river terrace that can be found hiding at the back of the building. Here they offer delicious food and an impressive view to accompany your meal. If you don't wish to eat you can perch on the wall and sit at the river's edge. My friend and I sat here for a while before the show, with the beautiful sunset and rippling water surrounding us, it was quite spectacular.

We went to see Hens, the third play in Sky Arts Playhouse: Live season. A very enjoyable show in a great space.

In July the Riverside brings us previews of the best of this year's Edinburgh Fringe Festival. With nearly 30 preview shows to choose from, there is sure to be something for everyone.

http://www.riversidestudios.co.uk/

Carmen at The Royal Opera House

You can always expect a fantastic spectacle at one of London’s finest theatres, the Royal Opera House. And their current production of Carmen only enhances that reputation.

Bizet’s Carmen is definitely a crowd pleaser, with many singable songs. This production, by Francesca Zambello was first seen at Covent Garden in 2006 and continues to impress four years later, with Duncan Macfarland as the revival director.

Maija Kovalevska is stunning as the timid Michaela, her soprano voice soars on the expansive stage. Her efforts were rewarded at the curtain call when she received the most “bravos” and, for me, she stole the show. Carmen, played by British mezzo-soprano Christine Rice is suitably tempestuous. Rice definitely looks the part and vocally is passionate and alluring. Bryan Hymel is disappointing as Don Jose; he seemed to struggle, particularly in the earlier arias. The orchestra is conducted sublimely by Greek conductor Constantinos Carydis, although at times I was enjoying the music so much I felt it could have been louder.

Costumes and set are lavish and grand, aspects that I always expect and love at the Royal Opera House. Tall burnt-orange coloured walls surround the stage, particularly inspired for the final bullfight. The cast is large and often on stage. At the start children, donkeys, horses, chickens all run about, whether this authentically evokes Seville is debatable but it’s certainly fun to watch.

For those willing to stand at the back, there are great cheap deals.

Carmen finishes on 26 June, but with a fabulous summer programme coming up of Manon, Simon Boccanegra, Salome and La Traviata, it’s worth treating yourself.

Book here.

Tightrope at the Lyric

In the heart of Hammersmith lies West London’s most promising theatre, The Lyric. This venue offers an eclectic array of shows. Last weekend I went to see their current production, Tightrope.

Tightrope is a show performed by the Lyric’s resident dance theatre company, Amici, integrating able bodied and disabled performers. In this way it challenges the conventional expectations of theatre audiences.

When you sit down you don’t know what to expect. Performers of all kinds wander joyously onto the stage, some in wheelchairs others being helped by Amici performers, each has their own part to play in this story. Tightrope has everything you imagine a circus to have: clowns, strongmen, tightrope walkers and snake charmers.

On the street disabled people may have a low profile but here their talent is celebrated, and these artists love the attention. The wheelchair performers are particularly inspiring, one man rises from the floor (out of his chair) high into the air, another, ‘the wheelchair showgirl’ dances beautifully across the stage. A small band accompany the show and short poems, written by Amici member Chrissie Kugele are sung.

Tightrope may be uncomfortable for some at first, but as the evening progresses you appreciate the beauty of this show and the prejudices that it overcomes. And as you laugh with these performers there are smiles all round.

http://www.lyric.co.uk/p668.html

Idomeneo at the ENO

The ENO boldly present Idomeneo this month at Covent Garden. Idomeneo is the young Mozart’s classical drama.

This production is directed by the award-winning Katie Mitchell. It is presented in modern day dress, an interesting concept but one that occasionally overpowers the drama. I definitely miss the grandeur of the antique costumes you might expect in a Mozart opera. The staging is immense, with an almost constant rippling sea as the backdrop. The theme of water is central to the drama and you are reminded often of its importance.

Performances are impressive from the four leads. British tenor, Paul Nilon leads the company as the great Idomeneo. Nilon’s performance is staggering, he sings every virtuosic aria with ease and perfection, making the most of Mozart’s lyrical writing. Robert Murray is less convincing as the son Idamante, although sings well throughout. The two women, Emma Bell as the tormented Electra and Sarah Tynan as Princess Ilia have a wonderful dynamic on stage. Bell is ravishingly fiery and Tynan melancholic and gentle. Adam Green sings the role of Arbace with great gusto.

Idomeneo is rarely staged, perhaps because of its length. Hopefully after this run at the ENO it will make it to our London stages more often.

Idomeneo continues until 9 July, book tickets here.

PRISCILLA QUEEN OF THE DESERT

The three queens of Priscilla

Oh my God, do I love this show? ...even after the second visit I am begging for more. Priscilla Queen of the Desert is the ultimate feel good musical. It is no surprise that it won this year's 'Best New Musical' from What's on Stage, along with three other awards.

Adapted from the Oscar winning film, the story follows the journey of three friends across the Australian outback. They are outrageous, fabulous performers from the Sydney drag scene. Tick, Bernadette and Felicia head to Alice Springs in central Australia to visit Tick's ex-wife. Tick (previously played by Jason Donovan) is taken on by Ben Richards who sings and dances with vigour and elan, and yet is also able to show a more reserved side that is essential for his character. Don Gallagher is the stunning Bernadette, and Oliver Thornton the gorgeous Felicia. Thornton was born to play this role, and has an energy that is infectious. I have to admit that I really do love Oliver Thornton - beautiful in the flesh but strangely even more attractive as a woman.

The musical boasts 25 dance floor classics, these familiar songs are bound to be one of the reasons for Priscilla's resounding success. Audiences worldwide recognise the tunes, many singing along and even getting up to have a dance. It is a marathon for the performers, with spectacular choreography throughout. My experience of Priscilla was quite special this time around. I was one of the lucky few picked to go up onstage and dance with the cast during the performance, a very memorable and hilarious experience.

Visually this show is quite staggering with over 500 costumes, 55 wigs, and 200 head-dresses. Designers Tim Chappel and Lizzy Gardiner won an Academy award for their costumes for the film and now, with a bigger budget they have made the musical's outfits quite dazzling, imaginative and witty. They have the best bodies to work with, bronzed (they have a StTropez booth backstage) and toned, these women, sorry men, would make any woman enviable.

A journey to the heart of Fabulous, for sure. I wish I was up there performing in Priscilla Queen of the Desert every night.

The beautiful Oliver Thornton

www.priscillathemusical.com

The Fantasticks

The Fantasticks is a simple romantic tale of a boy and a girl and their fathers who scheme to make them fall in love. It is based on the play The Romancers by Edmond Rostand. It is a universal story that should appeal to all, though unfortunately I can't see how this production would.

The show has been a long-running hit on Broadway, and now a new Japanese production brings it to London's West End. The Fantasticks suits the dinky Duchess theatre in Covent Garden. It is an intimate space that serves well for smaller scale musicals, and has a certain charm about it that makes the show more intimate. Thank god because if it was any bigger the audience wouldn't be able to hear the voices of the two young leads: Lorna Want (Luisa) and Luke Brady (Matt) who certainly benefitted from the limited space. Carl Au who played The Mute moved fluently across the stage, but was rather a pointless additional character with little necessity in the story.

The more mature actors in the show, Paul Hunter (Mortimer) and Edward Petherbridge (Henry) were much more convincing and managed to squeeze an occasional laugh from the audience. Clive Rowe and David Burt, as the two fathers were full of energy and worked well together onstage, the only chemistry of the night. Hadley Fraser had charm and charisma as the narrator and held the whole show together. Unfortunately these actors had little to work with, as the music is pretty average, the song 'Try to Remember' is definitely the musical high point. The narrative is poor too, with most of the action over by the interval leaving little anticipation for the second act.

The Fantasticks has many West End wonders to contend with at the moment, and unfortunately by comparison is not too fantastic a show.

http://www.duchesstheatre.co.uk/

The Crucible at Regents Park Open Air Theatre

The Salem girls

The weather forecast had been 'heavy rainfall' so I was delighted to find the sun still shining when we arrived at Regents Park Open Air Theatre. This production of Arthur Miller's 'The Crucible' relies on light. A long play, it seems surprising that it begins as late at 8 o'clock, but as the interval finished and the trials of the second half began, it became apparent that this production uses the inevitable nightfall to its advantage.

Previously I have seen 'The Boyfriend' and 'Hello Dolly' at Regents Park Theatre, both light witty musicals. This year they are proving their versatility by tackling two rather more sombre plays, 'The Crucible' and 'Macbeth'. Miller's play is, if anything, more effective than the musicals I'd witnessed in its use of the space. The young Salem girls sit surrounding the circular stage almost throughout the show, with haunted blank faces, reacting occasionally to the speech before them. Their silence is sometimes even more poignant than Miller's most dramatic words.

The cast, together capture the dark hysteria wonderfully. John Proctor (Patrick O'Kane) towers above the young Abigail Williams (Emily Taafe), a physical contrast that emphasises the struggle for justice between them. O'Kane's bellowing voice carried across the park, and his gradual desperation is developed very naturally by the actor. For me though it is Philip Cumbus as Reverend John Hale who gives the most compelling performance of the night. The Reverend interacts with most of the other parts in the play and is therefore crucial to the play's credibility. He twists and turns with the story perfectly. Christopher Hunter gives a chilling performance as Judge Hathorne and Susan Engel as Rebecca Nurse also produces some powerful characterisation. Director Timothy Sheader should be congratulated on this eerie realisation of 'The Crucible', adapted well for this al fresco venue and yet staying true to the playwright's intentions.

The play, written in 1953 is still just as politically and culturally relevant making the performance all the more poignant. Towards the end I found myself gasping and begging for a consoling outcome, but to no avail. The cold night and the chilling drama left me shivering as I left the park. I would urge you to catch this production before it ends on 19th June, it is a stunning rendition of Miller's classic. However if you prefer something a little more light-hearted, opt for Sondheim's 'Into the Woods' on at Regents Park from 6th August.

http://openairtheatre.org/

The Pirates of Penzance at Kingston's Rose Theatre

All male production of The Pirates of Penzance! I was excited. (I have always had a bit of a thing for a man in make-up.)

This show, at the Rose Theatre, was recommended to me by several friends, so I was grateful to get tickets for the final night. I went along, wearing my appropriate McQueen skull scarf especially for the occasion. It is the Gilbert and Sullivan classic with a sexy twist. I don't mean to be vulgar, but it really was a feast of men. The operetta began with a short and sweet introduction on the piano from Musical Director, Chris Mundy who then continued to accompany the whole show. Seventeen men bounded onto the stage with contagious energy.

Gilbert & Sullivan isn't always my favourite, but this show was absolutely genius. It worked so well with the all male cast that I began to question if it had originally been written for just men, and why any company would choose to include women. It was, of course also the fantastic acting that made each pun so thrillingly funny.

The choreographer, Lizzi Gee had an important role in this production with numerous dance numbers throughout. Her vision was spot on, and I was surprised to see how polished the routines were, every man seemed completely confident with the complicated steps. Special mention is due to Alan Richardson, who played the shrill-voiced Mabel, he did a masterful job hitting all the top notes and still acting with convincing authority.

The Rose Theatre is a gem in the centre of Kingston Upon Thames. Under the leadership of Artistic Director, Stephen Unwin and Director Emeritus, Peter Hall, the standard of work at this theatre is quite astounding. It only opened in January 2008 and I feel it is my duty to raise awareness about this theatre, whose shows are often more exciting than those in London's West End. The theatre space is intimate and friendly with a small pit area for some audience members. These tickets are more affordable and perfect for students trying to save money.

You have missed out on the Pirates but with lots of great shows coming up check out Kingston's Rose Theatre yourself.

http://www.rosetheatrekingston.org/

Puccini's Tosca at the ENO

The Original Poster for Tosca

The opera Tosca is, above all, an epic love story. Every year you are sure to find Puccini's masterpiece on somewhere, this summer it is being performed at the ENO.

My first encounter with the opera was at the age of 15 when I was given the part of Shepherd Boy (in my case they made it into Shepherd Girl) at Holland Park Opera. The power of the music blew me away, ever since it has been my favourite opera. This time around the music moved me close to tears.

The ENO's production is stunning. The three central protagonists: Tosca, Scarpia and Cavaradossi are all played by singers that seem fully engrossed in their roles; this makes the audience's job to watch and believe very easy. South African singer Amanda Echalaz makes a pretty Floria Tosca, her voice is unfaltering, but it is her acting which particularly impressed me. She is entirely convincing throughout and has genuine chemistry with her leading man. Tosca's suicide which concludes the opera is spectacular with Amanda falling backwards off the rear of the stage with shocking grace.

Julian Gavin who plays Mario Cavaradossi has a wonderfully creamy tenor voice, a pure delight to listen to. It is a difficult role to sing, but he easily hits the notes and manages to fill the entire theatre. The baddie, Baron Scarpia must be a fun part to play, in this production Antony Michaels-Moore takes it on with gleeful terror. Such a nasty character that the audience even booed when he came on to bow.

The set had a Neo-Classical feel that worked well with the production as a whole. Cavaradossi's painting in the first act is an important feature, and it is a shame that it is shown as a strange mosaic type picture, but apart from that the set is appropriate.

Conductor, Edward Gardner does a sterling job with the orchestra, although the music needs little help to sound beautiful. Puccini himself commented, 'Only with emotion can one achieve a triumph that endures' and this is entirely true of Tosca, which I believe has some of the most passionate, overpoweringly emotional music of all time.

Any well known opera is open to great criticism, but I have seen four productions of Tosca in my lifetime, and this is hands down the best. It is on until the 10th July, I promise you won't be disappointed, this is a show not to miss.

Book tickets HERE.

DITCH any other plans and head to the Old Vic tunnels

A dead hare hung from the ceiling to greet the audience as they entered.

We entered through a small unsteady door, the space was immediately dark and the air was damp. I felt and heard the resounding heartbeat of the Waterloo trains above.

Strings were stretched across areas of the tunnels.

Ditch is certainly a surreal experience, every moment more surprising than the last right up until the final, painfully bitter moments of the play. It is performed in Tunnel 228, a once functional train tunnel beneath Waterloo station.

An inventive cage: part of the installation.

The production, which is a fusion of art and theatre, begins as an installation that you must walk through to reach your seat. Sinister clues are displayed against harsh lighting, for example a dead hare hanging above a pool of blood. It's not clear if the haunting symbols are something intended by writer, Beth Steel or if the production team decided on it themselves, either way they set the scene very powerfully. Once you've walked through these shadowy tableaux you reach a small makeshift theatre space.

A dissected hanging tree: part of the installation.

Despite the cold hostile environment, we were kept snug in our seats with cosy complimentary blankets. The play itself was relentless, set in a dystopian future. We watch a group of 'fascist strongmen'; there purpose is to catch the illegals they find on the moors. They are tended to by two women, powerless and lost within a world of aggressive men. The narrative of Beth Steel's play is a little confusing at the start but the cast's flawless acting is convincing enough to carry one along. The six characters loosely pair up - the lovers, the friends, the elders. Their prospects are bleak, and yet through the whiskey-fuelled action there are moments of hope amongst the despair and eventual doom. A glimpse of romance adds a little compassion to the story and allows the audience to sympathise. The juxtaposition of these tender feelings against the harsh reality of this dwindling civilisation is engaging and Richard Twyman's direction emphasises this further.

The quirky bar, designed by Junk & Gems and Hendzel & Hunt.

Of the six actors, Dearbhla Molloy, who played the role of Mrs Peel, was most impressive. Her gritty depiction of this older woman was consistently moving despite the brutal nature of the part. Throughout the show the sound effects blend with the disturbing rumbling trains above, a constant reminder of one's location. I thoroughly enjoyed both the play (which is playwright Beth Steel's first) and the atmospheric environment. With £12 ticket offers there is no reason to miss out on this other worldly experience.

We excited through a graffiti filled subway, which was suprisingly beautiful.

The Noise Next Door

The Noise Next Door are a five piece improvised comedy group (Tom Houghton, Charlie Granville, Matt Grant, Tom Livingstone and Sam Pacelli), who have been performing together since 2005. They use audience suggestions to create sharp witted brilliant improvised performances, that show great intelligence and a real understanding of their genre of theatre. On Saturday night I was lucky enough to see them perform at The King's Head Theatre in Islington.

Usually I find stand-up comedy difficult to enjoy, and feel as an audience member a real pressure to be at ease with the act in order to find their material amusing. And so went into The King's Head prepared to be cynical. The theatre is a cosy space and worked well with boy's interaction style of performance.

I really loved every second of it. All five guys were hilarious and seemed to have their own strengths. Tom Houghton would sometimes pick up the guitar to provide the accompaniment for short improvised songs that were genius in their creation and projection. A particularly hilarious song of the night was the umpa-lumpa dance song that used the theme of murder mystery.

With The Noise Next Door the audience are crucial, anything goes, and it is that uncertainty and element of surprise that made their show so exciting to watch. The onstage dialogue between the five guys indicated the obvious chemistry, and their ability to laugh at themselves made their humour even more infectious.

Check out The Noise Next Door's website http://www.thenoisenextdoor.co.uk/

or find them on Facebook.

Splish Splash!

Last night I ventured to the Riverside Studios in Hammersmith to see 'Soap - The Show'. We were warned that during the performance we may get wet but aside from that information I had no idea what to expect. We opted to sit a few rows back ( I was wearing my favourite PPQ silk shirt - and was not keen on getting it soaked!)

The show was half cabaret, half circus, but on a smaller more eccentric scale than most, with the theme of bathtubs and water joining all the acts and ideas together. The style of production felt similar to cirque du soleil, but primarily advertises itself as a Cabaret show. The superb direction came from Markus Pabst, who directed La Clique, a similar extravaganza that won critical acclaim at Edinburgh Festival Fringe in 2006. The cast of eight took it in turns to display their talents, sometimes working together, sometimes as soloists.

Patricia Holtzmann took centre stage for regular musical interludes, adapting some of the great classics (Mozart, Handel and even Rimsky-Korsakov) to the words of Bobby Darin's 'Splish Splash' - a song that cropped up throughout the show. I found some of her singing slightly unnerving and occasionally flat, possibly because her talent seemed unimpressive next to the acrobatics. There were six acrobatic acts - each performer has a different skill, the most exciting performances for me came from Francois Gravel with Dance Trapeze and Michael Lanphear with Straps. Both men drew audible gasps from the audience as they swung and threw themselves across the stage, often performing in water, always acting around the white bathtubs positioned on the stage. The theatre space is pretty snug at Riverside, and unfortunately I was sitting next to a very enthusiastic clapper, who felt the need to clap (very loudly), every 5-10 seconds, it was mildly distracting.

Nata Galkina (an antipode - foot juggler) also gave an awe-inspiring performance. Her astonishing talent is a rare art, and was definitely something I had never seen before. Her legs emerged from a bathtub, but her body was entirely hidden, and as she juggled and balanced more and more objects the experience became increasingly surreal. Like any circus, there was, of course the comedy factor. Marie-Andree Lemaire was a lovable clown figure. Usually I find the clowns quite irritating but I allowed myself to enjoy some of Lemaire's material.

Much of 'Soap' was non-sensical, but in the best way. It was quite unlike anything I have ever encountered before and was a unique and exciting production. The show caters for all ages and all interests. It is on until April 25th, tickets £20/£25.

WATCH 'SOAP' TRAILER HERE:

http://www.riversidestudios.co.uk/cgi-bin/page.pl?l=1264697914