Fredo's Theatre Group 
An archive of our reviews 2017/18 (Part Two)
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A concert by the Ensemble I Disinvolti 
in the Church of Santa Corona, Vicenza, Italy. 
What was it? Under the title L’Eredita’ Di Monteverdi (the legacy of Monteverdi), this was a performance of sacred vocal and instrumental music by Claudio of that name (1567 – 1643) and by less-well-known composers of the same era who worked with him or were in other ways influenced by him. 
What did it have going for it? With the post-referendum £ virtually at par with the €, a free concert, however esoteric, was irresistible. The additional temptation was the venue – the church of the former Dominican convent is (internally) a gleaming pink and cream confection barely to be distinguished from a luxury gelato of some scale. Its gothic vaults rise high above the marble floor and its rich assemblage of side altars, paintings (Giovanni Bellini for example), monuments and other decorative signs of its long history create a striking impact. It was in this church that Andrea Palladio (d. 1580) whose architectural achievements can be seen in so many places in Vicenza (including part of the Teatro Olimpico) was initially buried. 
Did We Enjoy it? The prospect of a programme of no fewer than 17 items with no indication of an interval was a tad daunting, as were the bare wooden benches with no sight of a cushion. In the event, however, there was no suffering, even though there was indeed no interval. All the pieces were of modest length, so even the addition of an encore did not keep us long from the supper table. For all its limited forces (two tenors and a bass plus portative organ and theorbo), the Ensemble – whose title, itself a musical term, seems to translate as “easy” or even “breezy” – filled the echoing spaces with bubbling  energy and dramatic intensity. All the voices, heard sometimes together, sometimes as pairs, sometimes solo, were supple, expressive and polished. On occasion, their vocal passion was cooled with delicate fluting by the organ in a canzona by Gabrieli (1557- 1612) and with soft filigree by the theorbo in toccatas by Kapsburger (1580 – 1651). 
To the untutored ear, the vocal items - motets in varied formats - by various hands – Rovetta (1536 – 1668), Rigatti (1613 – 1648), Grandi (1586 – 1630) et al – were not easy to distinguish one from another (I stand to be corrected and enlightened). That seemed true too of Claudio Monteverdi and of his younger brother Guilio Cesare (1573 – 1630). This may be understandable, given the political and cultural dominance of Venice in the region at this period. The common characteristics were highly ornamented lines and highly passionate invocations and adorations. The line between “sacred” and “secular” was indeed fine – as witness contemporary paintings where the depiction of religious ecstasy is often not very far from more fleshly passions. And this was the moment, verging on the baroque, when “opera” as now commonly understood achieved its particular identity. 
Those of us from the land once condemned as being “without music” could not help but reflect that solid protestant metrical psalm-singing may have been good for the souls of our early 17th century church-going forebears but it cannot have been as exhilarating and delightful as our evening with the Easy Ensemble. 
Our Rating: 3.5/5 
Would the Group have booked? Sorry, Vicenza is just a bit too out of reach for us to organise a visit. 
Would the group have enjoyed it? For our Theatre Group, this would need to be filed under 
Collectable: Misc. 
Group Appeal: ?/5 
Desire under the Elms by Eugene O’Neill, 
at the Crucible Theatre, Sheffield 
What's it about? We're down on the farm. Eben believes that the farm belongs to him, as his mother earned it from his father Ephraim before she died. Ephraim returns home with a new wife, Abby. There is a powerful sexual attraction between Abby and Eben, and she has his child. It’s Phaedra in the mid-West, blended with other borrowings from Greek tragedy. 
What did it have going for it? This early work by one of the great dramatists is rarely performed, and therefore it’s highly collectible. This was a chance to see it staged by rising star director Sam Yates.  
Did we enjoy it? It was a handsome production, and visually very striking. Sam Yates seemed to catch the appropriate mood of the play, and to understand O’Neill’s intentions. Matthew Kelly was suitably patriarchal, and Michael Shea as Eben is clearly an actor to keep an eye on. However, Aoife Duffin was too young for the role of Abby, and lacked an essential earthiness. Overall, I’m glad we collected it. 
Our Rating: Not quite 4 stars, but so close…3.8/5 
Would the Group have booked? We aren’t running trips to Sheffield yet! 
Would the group have enjoyed it? Anyone who likes intense drama would have liked it. 
Group Appeal: 3/5 
Beginning by David Eldridge 
at the National: Dorfman Theatre 
What's it about? The party's over but Laura is not ready to call it a day. Her biological clock is ticking and the last guest, Danny, lingering to finish his beer, may prove reproductive. Can chalk and cheese be a romantic squeeze? Is this the beginning of something more?  
What did it have going for it? A new play by David Eldridge; the subject was enticing too; it received enthusiastic reviews.  
Did we enjoy it?  Looking beyond the first kiss, if it ever comes, proves absorbing, suspenseful and surprisingly amusing in this romantic two-hander. These two lonely characters, as played by Justine Mitchell and Sam Troughton, may not look ideal partners but their body language, their hesitancy and suspicion of each others' motives, contribute as much to the believability of their situation as does the all too natural dialogue. She is affluent yet needy, he is lost yet needy too, and as they warily try to understand each other, we soon warm to their slowly revealed plights and will them to hit it off. Justine Mitchell is maybe cast a little too posh but Sam Troughton (why is he directed to play so much with his back towards us?) makes this unassuming Everyman just endearing enough for the encounter to be both original and believable. It's a cautious dance of desire and is a joy to see. We loved it.  
Our Rating: 4/5 
Would the Group have booked? The names involved are not widely known so it might be a difficult sell. 
Would the Group have enjoyed it? Oh yes, they would join the cheering at the end. 
Group Appeal: 4/5 
Albion by Mike Bartlett 
at the Almeida Theatre 
What's it about? An English Country Garden as a symbol for...(insert title) 
What did it have going for it ? It's a new play by Mike Bartlett, writer of King Charles III and tv's 
Doctor Foster; it's directed by theatre's eternal wunderkind Rupert Goold and has the wonderful Victoria Hamilton in the lead role. Oh yes, the reviews were enthusiastic too. 
Did we enjoy it? I did, but my companions did not. Move over Jerusalem, this English Country Garden is another 'state of the nation' play, or at least a stand-in for the Playing Fields of England – read into it everything from 20th century malaise, war grief and class animosity, right through to today's nostalgia for a golden past, the disillusion of the young and of course Brexit. But beware –  too much symbolism and it all becomes a bit silly. Audrey has inherited a decrepit garden (plus adjacent house which is not yet a home); she decides to have it restored to its former glory, bossing everyone around her into supporting her pet project, but alienating them all at the same time, destroying family and friends as the garden grows. The impressive in-the-round grassy garden set with central tree gives the whole cast an added task of planting the beds between scenes and then clearing them again as things turn out for the worst. This rather impressed me but irritated others. The wilful Audrey, as played majestically by Victoria Hamilton with a haughty air of self-righteousness, grabs our attention and never lets it go, but those around her are less engaging. Act one rounds up the woes and aspirations so we wonder where 'the nation' is going, but Act 2 changes its mind too often and soapily deflates – all rather like Brexit. But it entertained me despite its irritants and implausibilities. 
Our Rating: 3/5 
Would the Group have booked? The writer and plot would have raised interest, as they did ours. 
Would the group have enjoyed it? Like the plants, some would blossom and some wilt. 
Group Appeal: 3/5 
Life is for Living: Conversations with Coward  
written and compiled by David Shrubsole, sung by Simon Green 
at the Crazy Coqs, Brasserie Zedel 
What's it about? Songs, letters and extracts from Noel Coward’s diaries, interspersed with songs from his contemporaries, presented and sung by Simon Green. 
What did it have going for it? We were guests of our friends Jan & Michael. Simon Green reminded us that Noel Coward is the Master, but this 70 minute tour of his life and work made me feel that perhaps he was Jack of all trades, but Master of none. Certainly several songs didn’t stand up well against the Berlin and Gershwin examples included in the programme. And charming entertainer though he is, Simon Green really only introduced some variety into his presentation towards the end of the programme, with affecting interpretations of Marvellous Party, LondonPride, I Travel Alone and Sail Away. Full credit to him for not relying on the more familiar (and better) material, though some of that might have represented Coward’s achievements more convincingly. 
Did we enjoy it? I couldn’t have liked it more! Oh, that was being with Jan and Michael. Yes, Simon Green was appealing, but I think the act needs to be sharper, with more light and shade. 
Our Rating:  3/5 
Would the Group have booked? It’s a small room, not appropriate for a group. 
Would the group have enjoyed it? If you’re a Coward addict, yes. 
Group Appeal: 3/5 
Saint George and the Dragon by Rory Mullarkey 
at the National Theatre: Olivier 
What's it about? Saint George slays dragons through the Ages. 
What did it have going for it? A new play in the Olivier with John Heffernan in the lead and directed by the ever inventive Lyndsey Turner. Another dud after Salome and Common? We wanted to find out.... 
Did we enjoy it? The Nation is in a state again! This is becoming a common theme this year (see some previous reviews). Here the titular saint is fighting symbolic dragons through the Ages (three Ages, of course). To start us off it's rather disappointing to discover the dragons sometimes take on human form, to talk if not to fight. The first, an ogre suppressing villagers, is reassuringly slain in an unseen battle which nevertheless has 2 of the dragon's 3 heads flying amusingly over the heads of the audience. George's bloodied robe becomes the St. George flag. After that we move forward centuries and the next dragon, symbolically, is the Industrial Age exploiting workers. The third Age seems to be Society itself, or Capitalism, or football fans...yes, the focus strays uncertainly here so we can make up our own minds about today's dragon(s). The tone of the piece seems to be aimed at teenagers – nothing wrong with that – and there's much to entertain in the presentation on the Olivier's vast revolving stage. Model houses sprout smoking chimneys for the rise of industry, and mini tower-blocks rise for today's landscape. A large cast of largely unknown faces is lead by John Heffernan in sackcloth and a Spamalot wig - his innocence and enthusiasm charm the populace, even supporting a romance of sorts with an ageless damsel, and we happily wish him well with each quest. More of a success than Salome and Common, decidedly less tedious and irritating than both and with more laughs I would suggest, and why some friends left at the interval I cannot guess. 
Our Rating:   3.5/5 
Would the Group have booked? Not a lot to tempt us in advance, nor in subsequent reviews. Did the NT really think this would fill the Olivier? 
Would the group have enjoyed it? Probably yes, if expectations were not high. 
Group Appeal:   3/5 
Kathie adds: The critics have not been overly thrilled by this production but we found a lot to enjoy and it satisfied on entertainment value (dragon fighting, music et al) and John Heffernan was delightful as the naïve but optimistic George. On a deeper and more general level it also provoked thoughts about how far an insular and nationalistic focus can be both satisfying and terrifying. It also had added relevance on Armistice Day.  
Marnie, an opera in two acts, 
Music by Nico Muhly, Libretto by Nicholas Wright, based on the novel by Winston Graham 
What's it about? Adapted from Winston Grahams 1961 novel, and subsequently filmed by Hitchcock, it is the story of a troubled young woman - a thief and a liar, who moves on by assuming new identities. Eventually we learn about her early life and the root of her troubles. 
What did it have going for it?   A world premiere with music by Nico Muhly and libretto by Nicholas Wright; a cast lled by Sasha Cooke as Marnie, with Daniel Okulitch as her husband and James Laing as his devious brother.    
Did I enjoy it? Overall, yes, I did. A splendid production that moved its filmic script adroitly from office to kitchen to bedroom to cemetery etc; music that is always effective and at times quite beautiful; a cast of excellent singers, and a pleasure to see Lesley Garrett as the fearsome mother-in-law. Conducting was in the safe hands of Martyn Brabbins, and the chorus was on excellent form. The first act was the less interesting but after the interval the piece gathered momentum - maybe not the thriller I had been expecting, but I was gripped. I was somewhat puzzled by Marnie having four vocal lookalikes (maybe reflecting her state of mind?) and the presence of ten anonymous trilby hatted besuited male dancers who moved in and out of the action. I could imagine a few alterations before it moves to the New York Metropolitan but it is already a piece that deserves attention. 
Our Rating: 3/5 
Would the Group have booked? I doubt it, though some fans of 'new' opera or the Hitchcock film might. 
Would the group have enjoyed it? Moderately, as a collectible, if collecting operas is on your Wish List. 
Group Appeal: 2.5/5 
The Twilight Zone adapted by Anne Washburn 
(based on stories by Rod Sterling, Charles Beaumont and Richard Matheson) at the Almeida 
What’s it about? Various stories where the unusual and unlikely often happens, brought to the stage and borrowing heavily from the look and time of the original TV series (1959-1964).  
What did it have going for it? While none of us had been faithful viewers of the original series, or its subsequent revivals, it was going to be interesting to see how the concept could be staged.  
Did we enjoy it? The relatively small cast of 10 were well used to play various roles through some recurring storylines and some stand-alone. Their depiction of real, unreal, human and non-human characters was entertaining and just a little tongue-in-cheek at times. There were alien visitors from space, figures of the imagination, a creepy ventriloquist's puppet, screams in the night, and lit cigarettes which appeared from nowhere, all set in a starry black void with highly choreographed scene changes and a monochrome dress code - very impressive and overall it delivered on its promise of mystery and threat with a mixture of uneasy smiles and a few shivers. The second half did drag a little though and some storylines didn’t work as well as others. A bit of pruning and a bit more “I didn’t expect that” would have helped. With a fair number of youngsters in the audience it added to the slightly festive nature of the experience. 
Our rating: 3.5/5 
Would the Group have booked? Fans with memories of the orginal tv series might be tempted. 
Would the group have enjoyed it? Some would, if in the mood for tv nostalgia. 
Group Appeal: 3/5 
Network, adapted by Lee Hall, based on the Paddy Chayefsky film, 
at the National -Lyttelton Theatre 
What's it about? Based on the 1976 film, it is best remembered for a tv newsreader threatening to kill himself on live tv. But what happens next? 
What did it have going for it? What happens next is what we wanted to know. And with Bryan Cranston in the lead and Ivo van Hove directing, there was quite a lot going for it. 
Did we enjoy it? We were practically part of it, not one of the on-stage diners (yes, really!), but up front (£15 seats) we felt inside the immersive production. Television is the villain here, just as much now as it was back in the film's day. Channels will stoop low and lower to be top of the ratings so threat of a live suicide really is top of the pops. But this is about more than tv -  viewers believe just what they see on their screens (fake news!) which is manipulated by commercial and political concerns, kills off competition and in turn undermines democracy. And truth. The production leads us from studio to control-room to restaurant to home and even outside the theatre, with cameras following the players, and screens and mics attending to every word and detail. The adapted script (3 stars) is somewhat overblown (two hours, no interval) but, thanks to charismatic performances from Brian Cranston and Douglas Henshall and a slick involving production, the play builds up a robust charge and gains an extra star for that. 
Our Rating:  4/5 
Would the Group have booked? Cranston has fans from tv's Breaking Bad and some may remember the powerful film, so it is a box office hit, but there was no chance of making a group booking. 
Would the group have enjoyed it? I guess a mixed response. 
Group Appeal:  3/5 
Pinocchio by Dennis Kelly, with songs from the Walt Disney film, 
at the National: Lyttelton Theatre 
What's it about? A wooden puppet wants to be real, as we all know from the 1940 Disney film, whether or not we were around then. 
What did it have going for it? I remember Pinocchio's nose growing if he tells a lie, but what's the rest of the story? This version uses the Disney songs but goes back to the darker original story for it's moral tone, and with NT resources at its disposal it was worth a viewing. 
Did we enjoy it? With some tiny tots in the audience, we wondered if this NT Christmas show would be suitable – it kept them quiet but there may have been some  parents worrying that this version was not exactly a panto for kids. It had magic and wonder (how did they make that nose grow, and get a blue flame to swoop and hover above the stage?); it had a cast of 20+ who brought colour and verve to the black-box set; and it had an intriguing concept which grabbed our attention from the start – the puppet boy was a live actor and real people were played by oversize puppets. The songs were given attractive production numbers, and the moral (you must be brave, truthful and unselfish, and can't have love without pain) takes us through ever darker situations and threats to a delightfully tearful and emotional finale. Character actors including Mark Hadfield, David Langham and Annette McLaughin were well used but the star was undoubtedly Joe Idris-Roberts as Pinocchio who carried the story with charm and gusto. This may not have been a Pinocchio for all tastes and ages at Christmastime, but it pleased us. 
Our Rating:   4/5 
Would the Group have booked? With kids in tow (age 6+ I suggest), quite possibly. 
Would the group have enjoyed it? Again, quite possibly. 
Group Appeal:   3.5/5 
John by Annie Baker, at the National: Dorfman Theatre 
What's it about? “Everybody knows a John,” declares the blind Genevieve crushingly to Jenny. Genevieve has just recounted her feeling of possession by her ex-husband John and her subsequent madness; we are yet to discover the signifance of another John in Jenny’s life.  
Who is John? He seems to stand for some buried memory, a transgression, a trauma in our past, like an original sin that overshadows our lives. This influence is reflected in the setting of the play: we’re in Gettysburg, where the bloodiest battle of the American Civil war raged for days, and in a guesthouse stuffed with dolls and knick-knacks. Mertis, the owner, hasn’t visited the battle-field, but Elias, Jenny’s boyfriend wants to see it all, including the graveyard ghost tour. Upstairs, the Jackson room is mysteriously off-limits. At a measured pace, we are allowed to observe the disintegration of the relationship between Jenny and Elias, under the slightly sinister scrutiny of the older women. Let the ghosts of the past rest among the carnage. 
What did it have going for it? We enjoyed Annie Baker’s long previous play The Flick and she is definitely a distinctive new voice in contemporary American drama. It’s possibly a bit premature to hail her as a genius, but keep an eye on her. 
Did we enjoy it? Very much. James Macdonald’s direction seemed to serve the play perfectly, allowing the action to unfold as slowly and naturalistically as the playwright demanded. The actors gave pitch-perfect performances, especially visiting American, the impish Marylouise Burke.  
Our Rating: 4/5 
Would the Group have booked? I think the running-time of 3 hours 20 minutes might have scared some people off. 
Would the group have enjoyed it? Much as we enjoyed it, the play is an enigma, and I think that certain aspects of the production – the slow pace, Mertis opening and closing the theatre curtains and fixing the time on the clock, and Genevieve’s strange monologue at the second interval (commandingly delivered by June Watson) – might have irritated some of the audience. 
Group Appeal: 2/5 
Julian Ovenden at the Crazy Coqs 
What's it about?  It’s about escaping from everyday life into the more glamorous world of cabaret, and losing yourself in great songs sung well by a good singer. 
What did it have going for it?  It was an anniversary celebration, and we’ve always liked Julian Ovenden since his first appearance in Merrily We Roll Along at the Donmar. He’s built up a following with subsequent appearances in shows and concerts, and this was our first chance to see him in cabaret. 
Did we enjoy it?  Cabaret isn’t just a chance for the artist to show off their skills. It gives the audience a chance to see how the performer can interact with them, and this intimacy is part of its appeal. On this showing, Julian Ovenden is a confident performer with a relaxed style, and not afraid of sharing a risqué witticism. His choice of material was good: standards from Cole Porter (It’s All right with Me) and Lerner & Loewe (I Could Have Danced All Night) blended in with Dolly Parton (Here You Go Again) and Willie Nelson (Always On My Mind). I might have questioned one or two arrangements, but these were minor blemishes on a evening that flew by. 
Our Rating:  4/5 
Would the Group have booked?  Sadly, not really suitable for a group booking. 
Would the group have enjoyed it?  Without a doubt. 
Group Appeal:  4/5 
Summer and Smoke by Tennessee Williams, 
at the Almeida Theatre 
What's it about? Alma Winemiller, the repressed daughter of a vicar, and her relationship with an unruly young doctor who grew up next door. 
What did it have going for it? A rare opportunity to see a major Tennessee Williams play that was last seen in London in 2006 (starring Rosamund Pike) and which was taken off 10 weeks short of its projected 16 week run. 
Did we enjoy it?  We certainly did. It is the third of Williams' major plays, following The Glass Menagerie and Street Car. The central character is Alma whose painful shyness and self-consciousness causes her to be fearful in the face of advances from the very physical young doctor who lived next door. She is further inhibited and diminished by an all-controlling father and a disturbed mother, who she also has to help take care of. Alma, whose name is Spanish for "soul", is a kindred spirit of Laura from The Glass Menagerie and there are many other echoes of Williams' plays both previous and future. But here the director Rebecca Frecknall achieves a huge success - she sets the play on a stage whose curved brick walls hug 9 upright pianos. Their crashing chords and plangent single notes (lighting them up like lightning)  provide an intriguing sound score. There is no hint of Southern Gothic to be found, but unlike some other recent deconstructions of classic plays, this production brings the play heartbreakingly to life, and at the centre is the unforgettable performance of Patsy Ferran whose every utterance one is glued to, beautifully dealing with Williams' poetic language. Frecknall has achieved a fluent visual style which accords with Williams' views that the  physical stage was a limited space for his needs. The excellent Matthew Needham as the young doctor, John, is also impressive, as are the other actors, doing multiple casting. Let's hope this will transfer to the West End - it should do, given the rave reviews - in which case we  must hope that Our Boys organise a trip.   
Our Rating: 4.5/5 
Would the Group have booked? If there had been the opportunity they should have, but perhaps in the future.... 
Would the group have enjoyed it? If not, I would be very shocked.  
Group Appeal: 4/5 
John R
Girls & Boys by Dennis Kelly 
at the Royal Court, Jerwood Theatre Downstairs 
What's it about? (NO SPOILER) Growing up, life, marriage and after, and the girls v. boys disconnection. 
What did it have going for it? Carey Mulligan giving the performance of her life, a 90 minute monologue leading from stand-up comedy routine about life's chance meetings, sex, jobs, children and daily 'stuff', to her lifetime's unexpected and unimaginable trauma. 
Did we enjoy it? We were stunned. This is a slow-burner which jokes us into a relaxed state of rapport with Carey Mulligan's young mother as she plays with the kids and confides in us the details of her normal everyday life. But there are subtle shifts of gear, the audience's laughter fades as we listen, holding onto her every word yet not wanting to know, not wanting to believe what happens next. But we must and we do, totally. The Royal Court issues a Trigger Warning (critics take note) that they don't want to spoil anyone's enjoyment by giving away too much info on a play - "Its often the unexpected shared moments and plot twists that capture the audience and create the debate and conversation beyond the performance." But even more importantly "these moments can be particularly distressing for some individuals" and could "cause you extreme distress...". We now appreciate how audiences could be distressed, deeply so, (some have to leave; we heard of a man fainting) but we were highly impressed - by the writing and the performance and the original minimalist production which raise this short piece (like the Young Vic's recent Yerma) into the realm of 'notable theatrical event'. It's one to discuss, to share, to understand. It's all in the words, it's storytelling with an emotional depth-charge.   
Extra note - There are two details which I particularly relish. There is always the performance convention that we know we are in a theatre watching actors pretending this is real life, don't we? But there's a double-bluff moment here when Carey Mulligan suddenly tells us all along she has just been pretending, and at that moment (deep breath) we are told the dreadful reality of her character's situation. 
And the set, it's a bleached-white living room, every detail and prop is white creating a clinical unreality. Carey Mulligan and some items she touches are real, colourful among the white-out, but with a switch of the light the whole room can return to natural colours. How did they do that? 
Our Rating:   4.5/5 
Would the Group have booked? Would you book after reading the above? 
Would the group have enjoyed it? Some would; some would be very upset. 
Group Appeal: 3/5 
Pippin Music and Lyrics by Stephen Schwartz, 
at the Southwark Playhouse 
What's it about? Pippin, son of Charlemagne, searches for fulfillment in war, sex and politics, and finally discovers happiness in true love. 
What did it have going for it? This was once the hottest ticket on Broadway where it ran for nearly 2,000 performances under the direction of Bob Fosse. Based on a novella by John Steinbeck and with words and music by Stephen Schwartz (Wicked, Godspell) and performed at the ambitious Southwark Playhouse, it all looked very promising. We were guests of our friend Jan. 
Did we enjoy it? At the interval, it was Jan who delivered the deadly verdict: “Derivative.” It certainly comes across as Candide-lite, and that’s just the start of the problems. The score is sub-Jerry Herman, though less migraine-inducing than Wicked, and the vaudeville presentation encourages the performers to go over the top. What the show needs is charm; what it got was relentless, ingratiating hyperactivity. If only they’d taken it down a notch (or ten).  
Our Rating: 2/5 
Would the Group have booked? Possibly. We’ve done well at Southwark in the past and tickets are cheap. 
Would the group have enjoyed it? In fairness, the audience was enthusiastic, and another friend, Paul, said he would give it 4 stars. 
Group Appeal: 3/5 
Kiss of the Spiderwoman by Manuel Puig, 
in a new version by Jose Rivera and Allan Baker, 
at the Menier Chocolate Factory. This was a preview performance. 
What's it about? Molina and Valentin share a Buenos Aires prison cell, one accused of indecency and the other a political prisoner. They 'escape' from their incarceration by imagining the glamorous escapist plots of old movies. 
What did it have going for it? More famous for the Kander and Ebb musical, this is a new version of the original play, well cast with Samuel Barnett (many NT roles) and Declan Bennett (Once, EastEnders, etc.), and worth checking if the original twists and emotions stand the test of time, now song-less. 
Did we enjoy it? The Menier has been transformed yet again, somehow with an even larger acting space with just as many seats for the packed audience. A prison corridor surrounds us with a prison soundscape providing atmosphere, the central space being the tiny cell interior. Small is large in this set-up, with plenty of surrounding space for projected movie imaginings while the horrors of imprisonment are kept claustrophobically central. It's a hard task for the actors to hold our attention with so much to draw our eyes and ears away from their lonesome suffering (beatings, hallucinations, diarrhoea) but they do, and their close relationship gradually builds our emotional concern. Exotic movie plots with femmes fatales distract us, then grim reality brings us back to the central friendship-in-adversity. There has to be escape, real or imagined or unexpected, and eventually it comes with a satisfying flourish. Running straight through in 105 minutes, the play still feels a little overlong but this was a preview and it will be tightened. The songs are not missed, the intimacy is increased, the power survives. 
A further note - An implausible role of a female guard has been added to this version of the play. She is poorly cast and weakly played as some sort of kindly nurse. She seems to exist purely to employ a female actor. Is this why we have 'a new version' of the play? Women deserve better. 
Our Rating: 3.5/5 
Would the Group have booked? The casting as well as memories of the musical might sell tickets. 
Would the group have enjoyed it? Possibly a mixed response given the subject and some intimate scenes, but the humanity of the characters wins us over. 
Group Appeal: 3/5 
The York Realist by Peter Gill, 
the Donmar production at the Crucible Theatre, Sheffield 
What's it about? The developing relationship between a Yorkshire farmer and a visiting assistant theatre director from London. Can two men from contrasting backgrounds find a kind of loving that will hold them together? 
What did it have going for it? We had seen this production twice at the Donmar; we had taken the Group to see it; but now we wanted to see how a local Yorkshire audience would respond to it. 
Did we enjoy it? We liked this so much at the Donmar that I can think of nothing that would lessen our appreciation unless it just did not work in the much larger Crucible Theatre. We need not have worried. The set had been brought forward on the thrust stage, the back 6 or so rows of the stadium-type auditorium were not being sold, and two extra rows had been placed at the front, making it once again an intimate experience. We already knew every detail, but seeing the play a third time made it more intense, more heart-breaking, and made us appreciate the detailed and perfectly nuanced performances which, if possible, had settled into an even more natural truth. The audience loved it, laughed at the affectionate humour, fell silent at the erotic tension and I think truly understood the characters and their situation. The large crowd (possibly three or four times bigger than a full-house Donmar audience) applauded with a huge affection and many stood to cheer. A play about a very local gay love from the not so distant past, had hit the mark with total acceptance. The run of this spot-on production finished on 7 April, no doubt with great regret from the perfect team that gave it to us. It would be nice to hope the production will be revived again somewhere but that seems unlikely. We sincerely hope the especially impressive Ben Batt will move on to greater prominence and acclaim, as well as director Rob Hastie.  It has to have been the most affecting and talked about play of the year.  
Our Rating:   5/5 
Would the Group have booked? You did! 
Would the group have enjoyed it? You did! 
Group Appeal:   5/5 
Pressure by David Haig, at the Park Theatre 
What’s it about? The D-day landings in June 1944 and the influence of the weather, and the forecasting thereof, in the run up to the big day. A window of a few dates in early June had been decided to coincide with a full moon and optimum tides but the weather would affect visibility for the Air Force and sea conditions for the Navy in support of landing the troops and the resultant action on the ground.  
What did it have going for it? First performed in 2014 in Edinburgh and Chichester, this revival has been touring and getting very positive reviews. A West End transfer, to the Ambassadors Theatre for a run from 6 June to 1 September, has already been announced. The always reliable David Haig wrote the play and takes the leading role 
Did we enjoy it? A suitably atmospheric set, purporting to be a room at the Supreme Headquarters Allied Expeditionary Force, Portsmouth, saw a lot of action as the tension mounted. David Haig played Group Captain James Stagg, the chief meteorological officer for Operation Overlord, and his principal co-stars were Malcolm Sinclair as General Dwight Eisenhower and Laura Rogers as Lt Kay Summersby. These and the other members of the cast portrayed mostly real-life characters and made this beautifully constructed play about the vagaries of the British weather wonderfully gripping, all the more commendable as we already knew the outcome but not the tense preparation. 
Our rating: 4/5 
Would the Group have booked? Most probably. David Haig seldom disappoints and the reviews would add to the appeal. 
Would the Group have enjoyed it? Perhaps the Group will find out! 
Group Appeal: 4/5 
The Inheritance by Matthew Lopez, at the Young Vic 
What's it about? In a plot inspired by and loosely based on Howard’s End by E M Forster, a group of gay men try to come to terms with their ambitions and desires in post-AIDS New York. 
What did it have going for it?  It’s an epic: a play in two parts lasting in total more than 7 hours. And it’s directed by Stephen Daldry, and has a rare stage appearance by Vanessa Redgrave. 
Did we enjoy it? This is what “bravura” means. The structure of the play, and every line of dialogue, indicates that Matthew Lopez is a dramatist in total command of his craft. His imagination ranges across three interweaving stories, cleverly manipulated narrative techniques, and a probing and challenging investigation into received ideas on sexuality, morals, politics and ethics. No, don’t switch off! It’s engaging, entertaining, full of humour, and you’d have a heart of stone not to wipe away a tear at certain points in the story. 
Set on two raised platforms, one within the other, with few props, the cast come and go, interact with fluidity and conviction, talk us through their epic saga stretching from pre-AIDS days in their youth, right through their highs and lows, their hook-ups and break-ups, to their very affecting destinies. It doesn't flinch from telling and showing the specific facts of these varied lives, and there's a climatic coup-de-theatre of such emotional magnitude you can hardly believe the apparent ease with which it grips your heart. 
The cast is flawless, but particular praise has to go to Kyle Soller in the long and demanding leading role; to Andrew Burnap who brings wit and charisma to a potentially unsympathetic character; and to Samuel H Levene, in two similar but opposed characterisations. There's excellent support from Broadway star John Benjamin Hickey, and Paul Hilton does extraordinary work as well. 
This is orchestrated by Stephen Daldry, whose fingerprints are all over the performance. The immaculate staging, the grouping of the actors, their delivery of the dialogue can all be traced back to his directoral control of the material. It’s a triumph. 
Our Rating: 5/5 
Would the Group have booked?  At more than 7 hours, it would take some persuasion. 
Would the group have enjoyed it?  Yes, more than they might expect to. The audience gave it a total standing ovation, and we were glad to join in. 
Group Appeal: 3/5 
Chicago with Music by John Kander; Lyrics by Fred Ebb; Book by Fred Ebb and Bob Fosse.  
At the Phoenix Theatre. We were guests of Delfont Mackintosh 
What's it about? Two notorious murderesses seek the headlines, a Not Guilty verdict, and a vaudeville career from their prison exploits. 
What did it have going for it? Longevity, and a new starry cast of Josephina Gabrielle, Ruthie Henshall, and Sarah Soetaert with Cuba Gooding Jr topping the bill. 
Did we enjoy it?  We did enjoy it many years ago on several occasions, but maybe we have seen it too many times and are now over-familiar with this production. It's been touring the country and this seemed too quick a return for the show to the West End – it only left the Garrick in 2012 and nothing has changed except the cast. This production dates from 20 years ago and what looked pizazzy and cutting edge then, now just looks over familiar. The songs and routines are standards, but now just look standard. Having been underwhelmed by the experience this time, I must be fair and say the audience loved it and cheered like it was still ground-breaking. The cast had its fans there – Sarah Soetaert as Roxie deserved her cheers; Josephina Gabrielle as Velma is reliably cast; I liked Ruthie Henshall's Mama Morton more than Fredo did; but we both agreed Cuba Gooding Jr lacked the voice and charisma to make any impression. Razzle Dazzle us, it didn't. 
Our Rating: 3/5 
Would the Group have booked? Most likely, given the show's reputation. 
Would the group have enjoyed it? Provided they could overcome the deja vu, it would be a safe bet. 
Group Appeal: 4/5 
The Phlebotomist by Ella Road, at Hampstead Theatre Downstairs 
What's it about?  It takes place a little way in the future, when everyone is rated by their genome levels. Bea is a phlebotomist who carries out the tests, and her findings have an impact on her relationships, and on her own plans for the future. 
What did it have going for it?  It’s a first play by the writer at the enterprising Hampstead Theatre Downstairs. Jade Anouka is in the leading role, and she’s a dynamic actress. We’d been impressed by director Sam Yates’s production of Desire under the Elms in Sheffield. 
Did we enjoy it?  I don’t normally enjoy dystopian works, but this had an intriguing premise, matchmaking by genome comparison (not as complex nor unlikely as you may think) and Ella Roadunfolded her story very carefully. At the end of the first act, I wondered if she’d exhausted the seam, but there were unexpected (to me) twists and turns in the second act, when the tension mounted. This was very simply and effectively performed on a traverse stage with discarded props gradually accumulating as lives became cluttered with deceit  and complications. The characters convinced and gripped us from the start, and in this age of developing tests for DNA and every biological possibility, the play opens up a wide area of discussion. (We were guests of Sam Yates, but that in no way influenced our opinion of the play.) 
Our Rating:   3.5/5 
Would the Group have booked?  A difficult sell, I think. 
Would the group have enjoyed it?  Yes, I think they’d have been absorbed by the story. 
Group Appeal:   3/5 
Bat Out Of Hell, musical staged by Jay Schleb, based on the album by Meat Loaf 
,with songs composed by Jim Steinman, at the Dominion Theatre. 
We were guests of Cameron Mackintosh. 
What's it about? Who knows? Ok, I must try...teenage rebellion, teenage love, teenage angst, embarrassingly oversexed and strict parents...and of course it's about putting on a stage spectacular for the album's fans. 
What did it have going for it? A huge fan base, a reputation for it's iconic rocksongs of the 1970s, and (says Wikipedia) "Steinman's appreciation of Richard Wagner, Phil Specter, Bruce 
Springsteen and The Who".  Phew! 
Did we enjoy it? Firstly, an admission – this is right out of my comfort zone, not my scene at all. But we were invited and I was happy to give it a try. The cast work with great energy and dedication; the vast set is a tacky towering mess, the choreography references tacky tv gym-routines; and the sound is amplified to destruction. Some of the action is almost out of sight (and out of mind?) so is caught by hand-held cameras and projected onto screens. There's an iconic motorbike and iconic car – both are blown up on stage with showers of sparks and silver paper. This is the shrine to “All Revved Up And Nowhere To Go”, “Two Out Of Three Ain't Bad” and “Paradise By The Dashboard Light”. There's even a bat that flies across the Stalls! It's all done with tongue partly in cheek, and even the hard fans know this is trash, but it's part of recreating their teenage history of listening to LPs on Dansette record-players, volume on full blast, it's pop nostalgia given the 21st century big-sell with big sound.
 I smiled often in disbelief at what I was almost seeing and partly hearing; I stood at the end, with the crowds cheering and the smiling cast waving back. This was a communal event of almost religious intensity, good humoured and frankly more than a bit rubbish. I'm sure many will want to return and seeit again and again but, sorry, not me! 
Our Rating:  2/5 
Would the Group have booked? There must be some fans in our Group so they would be keen to go. 
Would the group have enjoyed it? The die-hard Meat Loafers would be ecstatic.... 
Group Appeal: (for Loafers) 4/5 
Absolute Hell by Rodney Ackland, at the National: Lyttelton Theatre 
What's it about?  The war is over, a Labour government is about to be elected, and a group of social outcasts and misfits enjoy the uneasy intimacy of the La Vie en Rose Club. Enormous quantities of alcohol are consumed as lives and relationships fall apart over the course of three long acts. 
What did it have going for it?  Only the National Theatre has the resources to revive this play with its huge cast: I counted 29 actors on stage at the end! That’s why it’s seldom seen, and that’s why it’s collectible. It’s closely based on the shenanigans in the bohemian   Colony Club in Soho, which gives it an added interest, if you admire the art and literature of that period. 
Did we enjoy it?  Crowd-control is very important in this play, and by and large, director Joe Hill-Gibbons manages to keep the action flowing across the Lyttelton stage (there were a couple of near collisions the night we were there). He orchestrates the interweaving sub-plots very well, and all the actors give vivid, slightly caricatured performances. Charles Edwards holds our sympathy as a gay would-be author, and Kate Fleetwood manages the quick-silver changes of mood of the club-owner/hostess convincingly. The eccentric group of subsidiary characters hold our interest and adds to the entertaining down-beat mix. A cavernous set rather detracts from the intimacy of the tales but is given added atmosphere by a host of colourful lampshades as you can see above. 
Our Rating: 3.5/5 
Would the Group have booked?Yes, I think so 
Would the group have enjoyed it?Some more than others, I suspect 
Group Appeal: 3/5 
Hamilton – an American musical. Book, music and lyrics by Lin-Manuel Miranda, 
at the Victoria Palace Theatre 
What's it about? The life, politics, and assassination of one of America's little-known founding fathers. 
What did it have going for it? Success, awards, hype, word-of-mouth. Plus the high price of tickets and the difficulty buying them. 
Did we enjoy it?  Hamilton is really about the experience from booking to final standing ovation, not just the show. The news from Broadway was that this is a blockbuster hit (despite the highest theatre prices ever). We booked a record seventeen months in advance and then, just a week before 'the date', we discovered instead of the Saturday matinee we had tickets for the Thursday matinee, the same day as a group visit to Macbeth - red faces and a sudden rearrangement of plans necessary! No paper tickets had been issued so we had to show our credit-card and photo ID to prove we were the legal ticket holders – slightly irritating but it stops touts and profiteering. We arrived at the theatre to find a queue around the block with high security checks in operation including a sniffer dog on patrol. Crazy, or what? But the checks were smoothly and speedily carried out, my card zapped, and we were given small paper tickets showing our seat numbers. The theatre had been splendidly refurbished prior to the show's opening although scaffolding still remained outside. Inside, the stage was set with brick walls, timber balconies, steps and ropes, and there was a buzz of excitement from the entering crowds. Our seats in the Upper Circle's front row (£59.50) were not ideal with little legroom and only a clear view if we sat up straight, but at last I was HERE at the HOTTEST SHOW in town. And the most expensive. 
Yes, it's a worthy winner of awards, but some are more worthy than others given the West End competition. Aaron Burr, Alexander Hamilton's assassin, is given an impressive performance of striking clarity by Giles Terera (Olivier Award for Best Actor in a Musical) and Michael Jibson makes a bigger impression as the comical King George than the small size of his role deserves (Olivier Award for Best Actor in a Supporting Role in a Musical). The sung-through rapping rhymes did not come easy to my ears but the plotting, a lesson in how to make history accessible to reluctant pupils, was easy enough to follow and the rhythms beguiled us with at least four big numbers surely destined to be everlasting favourites. That open set with its surrounding balconies was brilliantly used, with the movement of the cast covering every part of the stage in ever shifting patterns (a well deserved Olivier Award for Best Theatre Choreography). The famously racially mixed cast inhabited their figures from history with pride and understanding, adding a welcome and appealing diversity to what could have been some faceless figures from the history books. Colour and vitality carried the show, the music charmed us all, and one of the most unlikely subjects for musical theatre (along with Evita and Pacific Overtures) was worth the high price of the seats. But let's overlook the £200 premium ones in the Stalls, for desperate late-bookers only, I assume. 
Our Rating: 4.5/5 
Would the Group have booked? Oh yes, if they could. But it will be impossible to book at a group discount for several years I suspect. 
Would the group have enjoyed it? Hard to believe such a subject could be such a hit, but YES they would be thrilled. 
Group Appeal: 4/5 
Instructions for Correct Assembly by Thomas Eccleshare 
at the Royal Court Theatre, Jerwood downstairs. 
What’s it about? A couple, Harry and Max, love tackling self-assembly projects and buy a pack from which they build a robot. The robot is of a young man, Jan, whose actions and thoughts they can control and correct to their liking. The scenes with him, and their neighbours with a high-achieving daughter, are interspersed with flashbacks to earlier times when their son, Nick, was not so malleable and with tragic consequences. The same actor, Brian Vernal, plays both roles. 
What did it have going for it? The Royal Court is generally reliable in its play selection and whilst described variously as a ‘sci-fi /dystopian /satire’ the playwright has tackled the themes of loss and guilt in a novel way. Mark Bonnar and Jane Horrocks take the lead roles.  
Did we enjoy it? It was an uneven affair and carried the robotic theme to the extreme in both the inter-scenes treatment and the set design and choreography. The cast did their best, and the dialogue was well-written and delivered, but it could have done with less of the conveyor-belt set-changing and more focus on the characters. Some of the brief illusions (eg a 'living' robot's head and hand) were cleverly realised. An oddity that jarred was the beautiful rear wall, seemingly comprising lush and exotic plants, but its presence wasn’t needed or explained. Overall, it entertained without being completely engrossing. 
Our Rating: 3/5 
Would the Group have booked? There were no particular hooks in the cast, playwright or subject matter but the more adventurous might have given it a go. 
Would the Group have enjoyed it? They may be fascinated more by the presentation than plot. 
Group Appeal: 2.5/5 
Red by John Logan, at Wyndham’s Theatre 
What's it about? Mark Rothko, the great American abstract artist, has been commissioned to provide a series of paintings to decorate the Four Seasons restaurant in the Seagram’s Building in New York. He employs an assistant, Ken. As they strive to complete the work, the meaning of art in their lives is examined. 
What did it have going for it? I was a guest of Delfont Mackintosh. This play was first produced at the Donmar in 2009, and Alfred Molina played Rothko then, as he does now. Michael Grandage directs once again, reminding us that there is no better director for providing detail and pace. It’s an assured performance by the writer, and I was interested to see how it stands up. 
Did we enjoy it? Very much. It’s an interesting perspective on art, and on the difficult character of Mark Rothko. John Logan’s writing is spare, but we get to know the characters by their subtle interactions. Alfred Molina is as commanding as ever, and Alfred Enoch is a good foil. I felt he was just a little too assertive in this subservient role, but that made this production distinct from the original. 
Our Rating: 4/5 
Would the Group have booked? Unfortunately, the group offer is very ungenerous, and I’m afraid this might discourage people from booking. 
Would the group have enjoyed it? Our group enjoyed it very much at the Donmar in 2009. 
Group Appeal: 4/5 
The Prudes by Anthony Nielson, at the Royal Court Upstairs 
What's it about? Jimmy and Jess haven’t had sex for over a year – but tonight’s the night! As they prepare to end their celibate habit, they use the audience as a sounding-board and therapist. 
What did it have going for it? Anthony Nielson is a dramatist to watch. And you have to book early to get into the small Theatre Upstairs – so we did! 
Did we enjoy it? I’d had misgivings when I read about the play, and I wasn’t reassured to find the theatre festooned with pink nylon sheets. However, as soon as Jonjo O’Neill and Sophie Russell came on stage, I knew we were going to enjoy it. The conversation with each other and the audience covered extraordinary intimacies, the ins and outs and ups and downs of a supposed sexual malfunction, to hilarious effect. Jonjo O’Neill played shamelessly to the crowd and was well partnered by Sophie Russell. Their natural warmth and apparent affection for each other relaxed the audience so we could laugh at a very funny play. In fact, it’s a long time since I’ve been at a comedy where the audience laughed so much – the young man sitting in front of us literally slapped his thigh to help control his mirth.  Oh yes, there is a serious message in the play, and it’s done with the lightest of touches unlikely to offend other than the most determined of prudes. 
Our Rating: 4/5 
Would the Group have booked? It would be difficult to book a group into this small venue. 
Would the group have enjoyed it? I’m sure they would. 
Group Appeal: 3/5 
The Writer by Ella Hickson at the Almeida Theatre 
What's it about? Writing a play, creativity, the feminist agenda, the misuse of power, the patriarchy of Theatre, the place of women in culture/society/the family, etc. etc. 
What did it have going for it? Romola Garai and Sam West in the cast; controversy (1 and 2 star reviews v. 4 and 5 star reviews); and a respected female playwright having her new work produced at the Almeida. Take a deep breath and see what the fuss is about.... 
Did we enjoy it?  It begins with the house lights on as a feminist student rants at a play's director about the treatment of women in Theatre – he contrasts her explosive anger with a calm and conciliatory response and an offer to talk further. There follows a staged Q&A with a writer (female), a director (male) and an actor (female), much like the Q&As we have experienced after a Donmar performance except this one is a scripted part of the play. The fictional playwright is reticent and cowed by the bullying director as the actor tries to agree with both of them. Gender is important here as we then see the writer/wife and her husband at home, arguing about her writing problems, their sex life, their earning capacity, and the male/female divide. Both sides of the arguments are well represented and the tension created is edge-of-seat stuff. I suspect we are not meant to be on the man's side.The dividing line between reality and theatre is constantly blurred and we are even taken into The Writer's thought processes and fantasies. Ultimately the focus on a straight relationship is replaced by a lesbian one which reveals very similar differences between partners (the same grunting sexual moves, the same aggressive/passive responses and refusal to compromise) whether straight or gay. This is less of a play to 'enjoy' than a theatre event to nourish discussion, flout theatre conventions, provoke us, and take us to the brink of our prejudices and tolerance. Perhaps surprisingly, considering the play's concentration on the gender divide, responses to it have been both positive and negative from both genders. We were highly impressed, perhaps not persuaded to join the writer's feminist agenda but thankful that her themes were presented in such a stimulating and boundary-breaking theatrical way, guaranteed to encourage discussion..  
Our Rating:   Unexpectedly 4.5/5 
Would the Group have booked? The cast may pull in a crowd but the presentation could irritate many. 
Would the group have enjoyed it? That would be asking a lot of a general audience. 
Group Appeal:   2/5 
Describe the Night by Rajiv Joseph at the Hampstead Theatre 
What’s it about?   Using a number of real-life characters and actual events, some fictional elements are added to the mix to present a dramatised examination of what is truth and how it can be supressed, distorted or exposed. The Russian KGB, and its predecessor NKVD, pursue one agenda with a writer (Isaac Babel) and a journalist on the opposite path. The drama covers the period 1920-2010, with scenes from those dates and some in between, hopping back and forth. For those scenes we are in Warsaw, Dresden, Moscow and Smolensk. A Russian NKVD/KGB officer, Vova, appears in most of the later action and is a thinly-veiled Vladimir Putin. 
What did it have going for it? First performed in Houston, USA, in 2017 the timing of the staging of the production here fits alarmingly well with recent events and shining a light on the role that Russia plays in world affairs must be worthwhile.    
Did we enjoy it? It was ambitious in its scale and at nearly 3 hours long a certain endurance and patience was required. There were good performances and a great set but it never really came together or got anywhere. The piecemeal approach gave it the feel of scenes often interjected into a docudrama where a worthy academic takes the lead. If only. The subject matter was relevant but this play didn’t engage the heart and not an awful lot of brain either. 
Our rating: 2/5 
Would the Group have booked? It might have appealed to those who enjoy a bit of old-style, or perhaps current, cold-war drama and it being staged at the usually-reliable Hampstead could have been an attraction. 
Would the Group have enjoyed it? Unlikely 
Group Appeal: 2/5 
Mood Music by Joe Penhall, at the Old Vic 
What's it about? A young singer/songwriter battles an older producer for the rights to her song. They both confide in their therapists and are advised by their lawyers. 
What did it have going for it? Joe Penhall’s plays are always stimulating, and the Old Vic is generally reliable in choosing its plays. Ben Chaplin (replacing Rhys Ifans) makes a rare stage appearance, and the direction is in the safe hands of Roger Michell. 
Did we enjoy it? Very much. The dialogue is incisive, and it provides an absorbing insight into the music industry. I liked the style of the performance, on a thrust stage: the actors prowled around each other like predators, with one conversation cutting across another, scenes overlapping and desolving into each other. Ben Chaplin, Seana Kerslake, Jemma Redgrave and Pip Carter – all excellent - were ably supported by Kurt Egyiawan and William Findley. The beastliness of Chaplin’s character - arrogant, aggressive, rude, selfish, overbearing, cynical, and yet with a certain charisma - provoked a seething commentary from the women around me! I’m glad we went. 
Our Rating: 4/5 
Would the Group have booked? It was a bit of an unknown quantity. 
Would the group have enjoyed it? Some might have found it difficult to sympathise with either of the leading characters. 
Group Appeal:   3/5 
Cosi Fan Tutte Music by Mozart, at the open air Opera Holland Park 
Rehearsal Photos by © Ali Wright for Opera Holland Park. 
What's it about? The love of two sisters for their lovers is tested in a cynical plot by an older man. Complications ensue… 
What did it have going for it? We were given tickets for this dress rehearsal by our friend Catherine. And it’s one of Mozart’s most highly-regarded operas (and therefore one of the most popular in the repertoire) 
Did we enjoy it? What the opera is really about is Mozart’s command of building solo arias, duets, trios, quartets, quintets and sextets into a dazzling (and somewhat lengthy) score. The perfection can become a bit relentless, but it was presented beautifully by conductor Dane Lam. The singers sang out very strongly. The lighting was erratic on this evening, but that’s what rehearsals are for. 
Our Rating:   3.5/5 
Would the Group have booked? We don’t book HollandPark, as it is expensive, and a bit far away. 
Would the group have enjoyed it? Yes, especially if you like Mozart. 
Group Appeal:   4/5 
Mike adds - This was a rehearsal with added interest. Mozart's music was given unexpected extra bass by the low notes of a background rumble. It was first heard at stage-right, faint but continual, and getting louder. Yes, a storm was approaching. The volume increased and then it hit us - thunder overhead and torrential rain on the canvas roofing of the marquee type theatre. The noise was deafening, nearly drowning out the brave orchestra and singers, but they battled on. And then the storm moved away to stage-left leaving Mozart commanding the performance again. We were just glad we were not at the Globe or Regents Park where there is no protection from the elements.
Monogamy by Torben Betts at the Park Theatre 
What’s it about? TV Chef, Caroline Mortimer, has a very trying few hours, partly of her own making. The action takes place in her beautiful kitchen, from where her TV show is broadcast, and she is joined at various times by her assistant, her husband and son plus, her carpenter and his wife. There are revelations a plenty that provoke strong reactions, often to intended comic effect but not without some more serious moments. 
What did it have going for it? This production has been touring since early May and an interesting premise, together with the very watchable Janie Dee, provided sufficient enticement for a Saturday matinee. 
Did we enjoy it? It’s a very busy play with lots of props, including the preparation and cooking of a meal, and the action and dialogue is pretty non-stop. It was also crammed with themes – fidelity, alcohol and drug use, sexual orientation, mental health, parenthood and more. If this were one of Caroline’s meals it would be 10 courses all served on one plate. As a result, it feels like there was a tick list of things to cover and ends up being rather formulaic and, to continue the theme, not easily digestible. Nevertheless, the cast, including Charlie Brooks and Patrick Ryecart, gave it their all and added to the general enjoyment of the play which builds to a crescendo of disaster. 
Our rating: 3/5 
Would the Group have booked? Possibly. The cast might have been an attraction. 
Would the Group have enjoyed it? There were elements to be enjoyed but, as we felt, the play itself would probably have been found to be lacking. 
Group Appeal: 3/5 
My Name is Lucy Barton Adapted by Rona Munro from the novel by Elizabeth Strout, 
at the Bridge Theatre 
What's it about? Lucy Barton, a successful American writer, recalls a time when she spent 9 weeks in hospital in New York, and was visited by her estranged mother from Amgash, Illinois. As the two women reminisce, Lucy re-evaluates her own life through the filter of their shared memories. 
What did it have going for it? Principally, it’s the London stage debut of Laura Linney, whose screen work we’ve admired for years. It’s based on the best-selling novel by Pulitzer-prize winning novelist Elizabeth Strout, whose work I enjoy (Olive Kitteridge, Amy and Isabelle). It is a one-woman monologue. 
Did we enjoy it? I’d done my homework, and read the novel and its companion-piece Anything is Possible. Elizabeth Strout makes careful use of words, and from the page, I had a worrying sense of restraint in her writing. Laura Linney, voicing both mother and daughter, is equally careful with words, and gives each one appropriate weight to convey the tensions that teem beneath the narrative. It’s a perfect match of writer and performer, and the audience were enthusiastic at the end. Mike was more enthusiastic about Ms Linney than about the play. 
Our Rating: 3.5/5 
Would the Group have booked? Probably – but it was rather expensive, and no group discount was offered. 
Would the group have enjoyed it? Oh yes, I think many women would identify with Lucy Barton 
Group Appeal: 3/5 
25 June 2018 
The Strange Death of John Doe, a new play by Fiona Doyle 
at the Hampstead Theatre Downstairs 
What's it about? The corpse of a seemingly unidentifiable young black man is opened up in a mortuary and in the process the mystery and drama of his life and of those involved with him is revealed. 
What did it have going for it? It had many things going for it. A compelling and ambitious storyline inspired by "real" events and big ethical issues: a young man desperate to escape danger and distress in Southern Africa and to seek love if not fortune in Europe wedges himself into the undercarriage of a plane and towards the end of his journey, if not dead already, falls to his death on a London street; deft and meticulous direction by Edward Hall; effective ensemble playing with some stand-out vignette performances; impressive aural and lighting effects fluidly evoking a series of diverse settings; and a touching conclusion.  
Did we enjoy it? There was much to enjoy and to ponder. But equally, there was much to regret. Fiona Doyle, not inexperienced in playwriting, chose not to tell the tale smoothly and sequentially or to limit her focus to the dead boy Ximo and his back story. There was potentially an epic drama here, tracking the interplay, actual and fantastical, of the victim, his employer/putative lover, the trainee forensic medic, the investigating police officer (and others). Unfortunately, so much in the story caught her interest and seemingly distracted her focus. So, constraints on time, space and maybe inspiration did not permit these aspects to be more than superficially explored. A fragmented layered narration can evoke curiosity and engagement, as those little scene-setting episodes interlarding the opening credits of many TV whodunnits can do. Here, however, at least in the first half, unevenness in the writing made it hard to deduce quite where the threads were tending. Some roles seemed underwritten, some little episodes (often nicely realised by the cast) did not serve to take the story forward. One grasped that the minutiae of forensic dissection readily spoke for the subsequent gradual revelation of the young man's life but in themselves they need not have effectively swamped and slowed down the early scenes. The play had perhaps come to production too soon, before more depth could be added to some of the fragments and their interconnections clarified, and indeed, a stronger sense of pace and a more consistent tone injected. 
Benjamin Cawley was graceful and engaging as the young man; Rashan Stone as the dogged troubled detective was convincing even though the role had been insufficiently rounded out by the writer; Nick Hendrix creditably carried several contrasting roles (again rather thinly written); Damola Adelaja as the boy's brother exuded carefree joi de vivre; and Callie Cook bridged her double roles as lover and pathologist effectively. 
The themes within this play - North-South economic and social inequities, migration and exploitation, social responsibility, persistent social and racial prejudices, among others - all very pertinent to Europe and Africa today - deserve to be exposed and explored. Not having quite decided how they can be handled - as comedy, tragedy, burlesque, romance etc.- the playwright might like to work towards a second edition of the play purged of its current random distractions and yielding a stronger set of reflections on the tragic mainspring of poor Ximo's story.  
Our rating: 3/5 
Would the Group have booked? A play set in a mortuary? Perhaps a difficult sell. 
Would the Group have enjoyed it? Some moments not for the squeamish, but the plight of Ximo might hold attention. 
Group appeal? 3/5 again. 
Fun Home Music by Jeanine Tesori, Book and Lyrics by Lisa Kron, 
based on the graphic novel by Alison Bechdel, at the Young Vic 
What's it about? It’s based on Alison Bechdel’s family: she grew up with her two brothers in the funeral home which her father ran. He was also a teacher, and a man of volatile moods. When Alison goes to college, she accepts that she is gay, and comes out to her parents. Her mother tells her that her father is also gay, and has had affairs with men during their marriage. (Spoiler alert) Shortly afterwards, father commits suicide. Despite this grim summary, there’s a lot of humour and warmth in the show. 
What did it have going for it? We were guests of the Young Vic – but we wanted to see it anyway. The graphic novel is highly regarded, and the show was critically acclaimed at the Public Theater in New York, and subsequently had a successful run on Broadway. It’s eagerly anticipated by musical fans. 
Did we enjoy it? Yes, we did. It’s a lovely production (director Sam Gold) and the four leading actors - Kaisa Hammarlund, Zubin Varla, Jenna Russell and Eleanor Kane – are excellent. The three children have a show-stopping number, doing a promotion for the funeral home, and the audience on opening night went wild at the end. There’s a lot to like there, and I had a good time – with a couple of reservations: The story offers the opportunity to examine the family relationships in some depth, but sadly the writers don’t probe deeply enough, and I came away with a sense of an opportunity having been lost. And I’m afraid that Jeanine Tesori’s music doesn’t stay with me. There’s a melodic number Maybe Not Right Now that struggles to make itself heard, and I longed for it to be given its big moment, but it didn’t happen. Nevertheless, I felt involved with the characters, and their situation. 
Our Rating: 4/5 while I was watching it, but 3/5 on reflection. 
Would the Group have booked? I think I’d have to have done some inventive copy-writing. It’s more appealing than it seems to be. 
Would the group have enjoyed it? Yes, I think so 
Group Appeal: 3/5 
Machinal by Sophie Treadwell at the Almeida Theatre 
What's it about? A young woman caught in the rat-race of life and stifled by conformity commits a crime. 
What did it have going for it? Great reviews for this production and we remember being impressed by the  play at the National many years ago. It's short, sharp and should be devastating. It also chimes with a woman's place in the world in the time of #MeToo, even though written in 1926. 
Did we enjoy it?  Design is all for this play. When we saw it at the National many many years ago the stage was dominated by an over-bearing machine-like structure representing the conformity and repression  of our metropolitan society. Here a huge angled mirror, simple but effective, did the same. With sound. The brilliant soundscape of traffic, typewriters, overlapping chatter, subway clangs, police whistles, shouting reporters, the hub-hub of the city, dominated. The plot is simple, and simplified into chapters – young woman is bullied at the office, coerced into marriage and childbirth, is bored by her husband, seeks brief satisfaction outside her marriage, and spoiler alert! Emily Berrington has to carry the play in the central role of Young Woman with other actors covering a multitude of periphery roles. It works, up to a point, but with diminishing returns. After a hugely impressive opening, with the audience being pressurised to a degree of discomfort by the noise and irritation of the immersive city experience, the play settles onto a predictable downward slope to its inevitable end, emphasised by chapter headings and an amazing quick-change of props and costumes between the ten short scenes. Scene 10 which should shock ends in more like a whimper. Beginning in the 1920s, the subsequent scenes hint at times passing but with the pressures of conformity remaining the same...we get the message anyway, without mobile phones making an appearance. At 80 minutes in length with no interval, the play is long enough to make it's point and short enough not to over-egg its theme. It's also slight enough to need its impressively taught production. And that certainly does impress.  
Our Rating:   3.5/5 
Would the Group have booked? No 'names', short and dark, so maybe a difficult sell for our group. 
Would the group have enjoyed it? Some would have been impressed, others would say it's not their sort of play. 
Group Appeal:   2.5/5 
An Octoroon by Branden Jacobs-Jenkins 
What's it about? Here we have a  play within a play about writing a play, about a particular playwright (Dion Boucicault) and one of his early plays (The Octoroon), and about the conventions of staging plays back in its day (1859). But mainly it is about race and slavery. The word 'octoroon' means a person of one-eighth African ancestry, 
What did it have going for it? In Gloria last year, Brandon Jacobs-Jenkins showed total control in structure, character development and dialogue, and created one of the plays of the year. An Octoroon was first presented at the tiny Orange Tree Theatre in Richmond, and got 4&5-star reviews, resulting in the first ever transfer from that theatre to the National. Excitement mounted as it reopened to more rave notices. And I'd done my homework (Fredo writes) by attending a seminar on Dion Boucicault (see If You're Irish, in the Previous News Items section HERE). Further excitement was generated when our friend Rose told us that she had heard from other friends that it was the best thing they had ever seen. And then, intriguingly, Rose went to see it herself, and said she "wanted to have words with the director". 
Did we enjoy it? The subject may sound weightily stagey but it's given an explosively theatrical treatment. Brandon Jacobs-Jenkins includes great chunks of Boucicault's melodrama to illustrate the theme of how black characters have been depicted on stage and mistreated in life. It's a lot to take on. The presentation here is adventurous but a mess. There is no attempt at reality or consistent style; no cohesion - we are continually reminded we are watching a theatre piece, with abrupt mood changes, melodrama played as vaudeville, interruptions, surprises, black actors whitened-up and whites blackened-up, a red-faced indian, wigs and roles swapped, frequent "nigger" references, and ultimately a flash of flaming spectacle. Even a tap-dancing Br'er Rabbit (played by a woman) makes an appearance – he apparently originated from tales written by African slaves. It's all here, at length, as a kaleidoscope, and perhaps that is why my attention and responses were erratic throughout. 
Boucicault was a respected playwright who often portrayed social situations of his day, bringing them to the attention of large audiences in an appealing and spectacular way to get his message across. His melodrama The Octoroon focused on the evils of slavery and yet here the extracts from that play are lampooned grotesquely – another reason for my lack of enthusiasm – why ridicule the play on which this piece is based when Brandon Jacobs-Jenkins has the same ideas?  Often, I feel, a play's good 'social' intentions get reviewed, rather than its success in realising them, and all the 4-star reviews for this production may be an example of this. 
In the lead, playing the playwright BJJ (geddit?) and several of his characters of differing races, Ken Nwosu impresses hugely with his expressive agility and tale-telling ability to hook  the audience. When I was not thinking this was a production styled for the amusement of five-year olds, I enjoyed a lot of the inventive staging and was more affected by the few moving scenes of melodrama played straight, than by the broadened scenes of slapstick farce. I wish I could have liked it more. 
Our Rating: 2.5/5 
Would the Group have booked? I doubt it, unless the title was puzzlement enough to lure some. 
Would the group have enjoyed it? As an entertainment - perhaps. As something more - possibly. It certainly seduced some reviewers but not this one. 
Group Appeal: 2/5 
Fiddler on the Roof (music Jerry Bock, lyrics Sheldon Harnick, book Joseph Stein), 
at The Guildhall School of Music & Drama, Silk Street Theatre,  
What's it about? Tevye, an impoverished Jewish milkman in Tsarist Russia, has to accept that while some things never change for his people the strength of tradition can be dented by the love matches of his daughters. 
What did it have going for it? Fiddler has proved to be a strong survivor among musicals (1964). Its hummable melodies and witty lyrics stick in the mind. Its unchallenging endearing story line can (maybe) bring a tear to the eye. The GSMD’s fine record and excellent theatrical facilities are strong recommendations in themselves. 
Did we enjoy it?  This production was hugely enjoyable. All aspects were admirable: a visually captivating and adaptable set; a mellifluous band under Steven Edis, at home with punchy and silky big band numbers and with characterful klezmer; and a large enthusiastic student cast whose ensemble moments were outstanding - how one’s creaky knees envied such flexible dancing!  
The show requires a powerful leading man and Alex James-Cox as Tevye absolutely dominated, fully inhabiting his role in wry delivery, in voice, and in gesture. The book rules and so, unavoidably perhaps, other roles, though very well handled, were less rounded in character and less impactful. There were some moments of tonal uncertainty in individual voices (assisted or not by technology). Of course, we are not talking Wagner here, though some surprising parallels struck me. Just as at Bayreuth, the Silk Street Theatre conceals its Orchestra from audience view in a deep pit. Into Tevye’s world comes Perchik (Toheeb Jimoh), a mysterious young radical who in the style of Lohengrin brings change to the traditions of the community – and then disappears to remote Kiev. And finally, rather like the Gods in Rhinegold retreating to Valhalla, Tevye and his neighbours disperse in the face of Tsarist threats and brutality to other places and inevitably to fresh uncertainties.  
One could imagine a production that yielded starker contrasts of mood, given the plot line, but here, director Martin Connor kept things on the bright(er) side and Joanna Godwin’s energetic choreography reinforced that. Overall, the charm and commitment of the cast made for a terrific evening’s entertainment. 
Our Rating:   4/5 
Would the Group have booked? Probably two visits would be necessary.  
Would the Group have enjoyed it? They would lap it up like chicken soup with barley. 
Tartuffe by Moliére, adapted by Christopher Hampton 
at the Theatre Royal Haymarket 
What’s it about? The central character is Orgon who falls under the influence of the messianic figure of Tartuffe, inviting him into his home. There are repercussions that affect Orgon, his wife Elmire and other members of his family and other acquaintances. The original 1664 version was set in Paris but here we are transported to modern-day Los Angeles. For some reason, never explained within the context of the play, the dialogue is delivered partly in French and partly in English, with surtitles to translate each into the other language. 
What did it have going for it? Christopher Hampton has an extensive and impressive list of plays, translations and adaptations to his name. The cast includes Audrey Fleurot (Spiral) as Elmire, George Blagdon (Versailles) as the son Damis and Paul Anderson (Peaky Blinders) as Tartuffe. The role of Orgon was played by Sebastian Roché. Although the reviews had done little to encourage a booking, a price reduction from £75 to £25 for good stalls seats for its final few weeks was enough to get us there to judge for ourselves. 
Did we enjoy it? The contemporary setting wasn’t an issue and the ultra-sparse set, comprising mainly a glass box that moved backward and forward, was odd but it had its place. The main issue was the alternating dialogue which severely affected the delivery of the text, especially any comic lines. By the time you had read the surtitle the action had moved on and it all made it harder work to get involved in the story. The cast gave strong and moving performances, with many switching between French and English (in the same scene sometimes) although not every actor came across as being entirely comfortable or convincing in their non-native language.  
This version had Tartuffe as a white-robed evangelical Christian who held sway over Orgon to seize power and wealth. Just as he thinks he has won, the tables are turned and the US Government official delivering news-used phrases and referenced actions that were very thinly-disguised Trump-like. On the very afternoon that Mr Trump came to town, that played very well with the audience! 
Our rating: Mostly the play warranted 2.5/5 but with that final scene we raise it to 3/5 
Would the Group have enjoyed it? Those familiar with the play might have been interested to see an updated version and, in Christopher Hampton’s hands, it had its moments. But, overall, probably not. For those fortunate to be bi-lingual it would probably be a much richer and enjoyable experience. 
Group Appeal: 2.5/5 
Pity by Rory Mullarkey, at the Royal Court Downstairs 
What's it about? It’s a state–of-Britain play: we start with the Fulham Brass Band playing in a town square with an ice-cream stand and a tombola – all very idyllic, but it’s downhill from there into anarchy and bloodshed.  
What did it have going for it? I was given a ticket by our friend Jan, but I wanted to see it anyway, as I was intrigued by the writer’s earlier plays (eg. Saint George and the Dragon, at the National). 
Did I enjoy it? It starts inventively, and then it sags a bit when it seems to be straining to hold our interest, and then suddenly it picks up again when Mullarkey concentrates on his theme .Throughout, our leading characters reassure each other that they’re all right, but things only get worse. Initially, it looks a bit clunky, but as the play develops, I was impressed with the design and stagecraft that had gone into the production. I was glad I stayed for the full 100 minutes (without interval); several of the audience didn’t. Noticeably, the younger members of the audience were the most enthusiastic. I commented to a friend who works at the theatre that I thought the cast was a bit uneven, and she suggested that that was how the director had wanted them to play it. I’m not convinced: some of them catch the broad comic-strip style, while others don’t come to terms with the shamateurism imposed on them.  Personally, I’d have preferred more Mull and less Larkey. 
My Rating: 3/5 
Would the Group have booked? No 
Would the group have enjoyed it? No 
Group Appeal: 1/5 
Exit the King, by Eugene Ionesco 
at the National: Olivier Theatre 
What's it about? The king is dying, or to be more precise, he will die "at the end of the play in 68 minutes", we are told. What can be done? 
What did it have going for it? A rarely seen play from the days of the Theatre of the Absurd – certainly collectible. With just six characters and the Olivier to fill, can the National pull it off? The reviews said No, we heard of people leaving even with no interval to encourage them, but we wanted to see it for ourselves. 
Did we enjoy it?  Hmmm, interesting. It has a great cast, dedicated to the task in hand. Indira Varma plays Queen Marguerite with a commanding presence and genius timing for the comedy; Amy Morgan flirts and cajoles with flair as Queen Marie; Adrian Scarborough, palace fixer and fool, takes a step nearer to his inevitable National Treasure crown; there's also Derek Griffiths (where have you been?) and Debra Gillet fulfilling palace duties; and then there's Rhys Ifans, (not a favourite of mine) entering through the auditorium (we are all asked to stand) to be told these are the last minutes of his 400 year reign. No time to lose as his kingdom is vanishing, as indeed does the set, impressively, in the final dying moments of the play. This is absurdist humour with serious intent, comical, tragical, moving, but (I have to admit) irritatingly relentless in its panto-like fashion until melancholy takes a hold. Rhys Ifans at that point proves his perfect casting, crumbling into panic and dementia, making us feel not just for him but for all us aged and infirm as we hang on in our palaces, with those around us just waiting to step into our shoes and take our reign. And so the play proves to be about mortality, no laughing matter at all, and definitely worth the 100 minute count-down to death. 
Rating:   3.5/5 
Would the Group have booked? I doubt it, especially after so many two-star reviews. 
Would the group have enjoyed it? This really does depend on one's theatrical patience, though our matinee audience was enthusiastic in its response. 
Group Appeal: 1/5 
Hymn to Love, devised by Annie Castledine, Steve Trafford and Elizabeth Mansfield 
at Jermyn Street Theatre 
What's it about? It’s a programme of Edith Piaf songs, held together by a fragment of biography centring on her tragic relationship with boxer Marcel Cerdan. 
What did it have going for it? Elizabeth Mansfield is an expert at one-woman shows, and she’s a terrific singer. We like Edith Piaf’s songs – and our friend David was in charge of the technical aspects of the show. 
Did we enjoy it? It’s a small scale show in a tiny theatre, and that increases the intimacy of the performance. Using few props (and perhaps overusing a phone) it tells us just enough about Piaf’s life, and concentrates on the songs. I thought I knew them all, but there was a lot of material that I hadn’t heard before. Patrick Bridgman provided excellent piano accompaniment to Ms Mansfield’s interpretations of the songs, saving the most well-known ones till last (and guess which was the final song!) You need to like this music, and I do, so yes, I enjoyed it very much. 
Our Rating:  3/5 
Would the Group have booked? This theatre isn’t suitable for a group. 
Would the group have enjoyed it? If you’re an Edith Piaf fan, this is the show for you. 
Group Appeal:   3/5 
Home, I'm Darling by Laura Wade, 
at the National: Dorfman Theatre 
What's it About? The gradual falling to pieces of a marriage where appearances and style have become obsessive.  
What did have going for it? This was a joint production between Theatre Clwyd in N.Wales and the National. It featured 3 of our favourite actors (Sian Thomas, Katherine Parkinson and Richard Harrington), it's by Laura ("Posh") Wade, and friends who had seen it at Clwyd recommended it. On the other hand, we know of some who hated it, so this added a controversial lure.  
Did we enjoy It? Yes we did. We are confronted with the cross-section of a middle class two-storey provincial home - it's an immaculate 1950s interior with period detail throughout. Enter Judy (Parkinson) tripping merrily about the set in flouncy skirt, tight bodice and immaculate hair and make-up. She's preparing breakfast to the accompaniment of Mr Sandman (think of the lyrics), her one aim being to provide Hollywood wifely perfection for husband Johnny (Harrington), an upcoming estate agent hoping soon for a promotion. Can domesticity be more idyllic? But things are not quite as they seem.  
 Perfection starts to crack with a testing visit from Judy's mother Sylvia (the wonderful Sian Thomas); Johnny returns from work (not saying "I'm home, darling"); his lively female boss brings work tensions into play; and the intrusive neighbours add extra topical pressures to this fifties ideal home.  
Scene changes are accompanied by little period dance numbers by the neighbours and there is a constant fifties soundtrack though I wished they had included Wives and Lovers the lyrics perfectly conveying what the play is largely about.  
 Although a vast range of sociological and psychological subjects are dealt with (rather too many in fact) the play is a comedy and pretty funny, with surprisingly an optimistic ending.  
Our Rating 4/5  
Would the Group have booked? Not possible as this was in the Dorfman which sells out as soon as shows are announced. If it transfers to the West End, there may be a chance to offer it to our Group.  
Would the Group have enjoyed it? I think so since a memory of the Fifties would definitely enhance enjoyment.  
Group rating: 4/5 
John R
Dance Nation by Clare Barron at the Almeida Theatre 
What's it about? A troupe of teenagers in Philadelphia (Fx5; Mx1) work their way through dance cpmpetitions...and a wide teenage learning curve, mainly of female sexuality. 
What did it have going for it? Google the title and you will find classes with this name, tv and radio programmes, productions of the play...worldwide. Who knew they were such a phenomenon, both dance competitions and this play. Surely worth a look? 
Did we enjoy it? From the start this is tongue-in-cheek (I hope), seeking broad laughs, is full of energy...and sex. The teenagers (13 - 17 maybe) are played by adults of various ages (20 – 60 perhaps) so we have to give them credit for stamina as limbs are flung around in the dance routines and tongues wag about menstruation, masturbation, puberty, pussies,  penises and the finer points of getting one over on the dance competitors, usually with bitchy verbal dexterity. Having raised eyebrows with its language and back-stories of the kids, there are not a lot of other places for the show to go. The production, all mirrors and lights, dazzles appropriately. It's a  dirty-mouthed mix of A Chorus Line / Stepping Out / Strictly Come Dancing, with insights into the facts and foibles of growing up a 'girl' (the one 'boy' doesn't have much say) so it has plenty of feminist credentials to entertain us with. This 'boy' gives it a grade 3+ for trying. 
Our Rating:   3.5/5 
Would the Group have booked? The subject has its attractions but the treatment perhaps not. 
Would the group have enjoyed it? It's short and not-so-sweet but has entertainment value. 
Group Appeal:   3/5