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Two Strangers (Carry a Cake Across New York) Review, Criterion Theatre

Posted on April 28, 2024 by Tiemo Talk

Review Date: 23^rd April 2024 (Press Night)
Venue: Criterion Theatre, London SW1
Star Rating: *****
Theatre: Criterion Theatre, London SW1
Writers: Jim Barnes and Kit Buchan
Director: Tim Jackson
Cast: Dujonna Gift (Robin) & Sam Dutty (Dougal)
Production: Tim Johanson Productions, Glass Half Full Productions and Jamie Wilson Productions presented a Kiln Theatre production

It’s Christmas time. We’re in New York. Or are we in London? What the ‘Two Strangers (Carrying a Cake Across New York)’ audience soon realise is they’re viewing an airport set piled high with suitcases interestingly displayed all over the centre of the stage going around and around on a revolving carousel.

You hear a radio playing the news – one minute clearly from New York, the next it’s obviously London news. That sets the scene perfectly for this transatlantic two hander rom-com featuring just an Englishman Dougal (Sam Dutty) and Robin, the New Yorker (Dujonna Gift, actually a Londoner but you’d never know so convincing is her accent) who meet up in order to execute their various assignments. They are the two strangers, the two protagonists of this musical. In traditional rom-com style, whilst minding their own business, they just randomly bump into each other at the airport and from this interaction the story really takes off on the journey (part 1 of it) towards understanding the assignment of this musical’s curious and ever so memorable show title.

Two Strangers is a classic rom-com and all too rarely seen example of the genre in live theatre. I can’t in fact recall any previous on stage original, British rom-com musical or play, so this musical is really quite the novelty. If you love rom-com’s you’ll be absolutely thrilled by this as not only does it tick a lot of the rom-com boxes, it actually is especially appealing in the way it isn’t a stereotypical rom-com thanks to it’s highly original story.

Dujonna Gift (Robin) and Sam Dutty (Dougal)

Dougal is a youthful (20 something), exuberant, excitable man on his first trip to the Big Apple – a city he feel’s so familiar and in love with having seen it from afar in numerous films and TV shows. He can’t wait to go, but is just as excited by the reason for the trip – meeting up with his father … whom he’s never met before.

Two Strangers is effectively a musical love letter to New York, an homage to the rom-com Hollywood genre the debut musical writers Jim Barnes and Kit Buchan set out to convey.

Fairly early on the audience is treated to the gorgeous song ‘New York’ – by a country mile the stand out, hit song of the musical, sung by Sam Dutty. It is so beautiful and such fun to hear his sensational voice belting out this song. It’s a true showstopper in every sense of the word by way of its heartfelt and funny lyrics allied to the smooth texture of Dutty’s voice. It almost got a standing ovation in itself such was the clapping, cheering and hollering at the end of the song. Note, this was just 15 minutes into the show!

From hereon we see the development of the almost love-hate (more annoy than hate really) relationship between Robin and Dougal as they get acquainted with one another and the unique situation they find themselves. They tell their story through a mix of straight acting, song and an abundance of jokes. The chemistry and banter between them is a joy to observe. It’s difficult to stop smiling as you see their relationship develop and circumstances of the trip unfold over time – to be precise, over the 72 hours Dougal has to be in New York. Literally the definition of a flying, whirlwind visit. It’s a real joy watching 20/30 something Robin navigating how best to deal with her over excitable singing, over cheerful, over familiar ‘new cousin’ from England. The moments when – having got a handle of who Dougal is – she senses he’s about to burst into song (this is a musical after all) and stops him in his tracks had the audience cheerily laughing away.

Dougal is generally dressed in jeans and a track suit for the most part; Robin mostly in casual wear also. Nothing too fancy. She works in a downtown coffee shop. Dougal has a regular job back home too. Just two ordinary people meeting in extraordinary circumstances with a couple of major assignments, primarily revolving, like the onstage carousel, around carrying a cake across New York.

I think the suitcases set was a great prop. They represented travel and baggage. The play focuses a lot on travel – the journey Dougal’s made, others in the play have made and the emotional baggage being verbally unpacked in Act II.

Dujonna Gift (Robin)

Robin’s voice is quite the joy when singing in a more traditional West End musical style. There’s a humourous, lyrical richness to many of the songs sung – particularly the more wordy one’s – almost not really designed with song in mind. The length of them and jokes within them come out of nowhere creating laughter all around the Criterion theatre.

After the highs of Act I, early on in Act II the show takes an about turn with some surprising twists. It’s abundantly clear following a big night on the town (living the high live on Dougal’s rich dad’s credit card!) that the pair are the worst for wear and perhaps because of the drink consumed the home truths start to spill out and fractures in the relationship kick in. It’s quite shocking and melancholic after what’s been offered in Act I. The pathos of these scenes in vivid, Black and white contrast to the effervescence of what preceded it, was effortlessly oozing out of Gift and Dutty’s acting. It’s a truly novel story and how it develops keeps you hooked in anticipation of the big reveal.

Despite the pathos there were still plenty of humour and laughter to be had along the way as the mystery around the “assignment” unfolds. Robin also had her musical soliloquy showpiece song. These soliloquy’s really lifted the play to another level and really hold the play together, solidifying key themes around love, family and relationships. I actually found this to be around 60:40 straight play versus musical.

It’s remarkable that two characters and such a relatively simple set (full of pleasant surprises) can hold the attention so well for two hours. That puts a lot of demand on the two actors – emotionally and physically to carry the entire performance. That isn’t easy.

Additionally it doesn’t feel as if you’re watching a show featuring just two characters. You can picture all the other characters – in your own head as you don’t see the others referred to – the sister, mother, father etc… Nor do you miss them either – it works perfectly well without their presence on stage, leaving you to focus solely on the two strangers in front of you.

The show closed with a richly deserved standing ovation. Rather than the traditional curtain calls it would have been entirely fitting to close the show with an encore of ‘New York’ the showstopper from Sam Dutty.

Two Strangers is a river overflowing with so much warmth, humour and feel good currents that it had me happily smiling broadly and contentedly for much of the performance. In these serious times that we live in Two Strangers was two hours of pure escapism in Piccadilly Circus, right in the heartbeat of London’s West End. For a rom-com centred around love it was apt that it is being staged at the closest West End theatre to the statue of Eros (Greek God of love and sex) –The Criterion. You can literally see the statue from the theatre.

New York’s known as a city full of hope and potential. Where people who’ve dreamt big go to fulfil their dreams. It’s also can be the graveyard where dreams can be shattered. Will Dougal’s dream’s be fulfilled or shattered? You’ll have to see it to find out.

Even if you’re not into musicals or theatre, I guarantee, if you are a fan of rom-com’s or just great, original stories, you’ll love this show. The music and singing’s great; acting first class; the set a joy and the story is so original and incredibly well told by two wonderful actors Dujonna Gift and Sam Dutty whose singing, comic timing and overall acting as their relationship ebbs and flows like the tide is wondrous. Treat yourself to the (Dujonna) gift that keeps on giving that is Two Strangers.

This is a truly great show and all the more amazing as it’s not from seasons musicals writers but written by two men producing their debut musical – Jim Barnes and Kit Buchan.

This year the Criterion Theatre celebrates it’s 150^th year. That’s an incredible achievement and milestone. Congratulations to all who have managed, run and worked in the theatre over all those years. I don’t know if this musical, whose origins date back to 2016 will be around in another 150 years (it’s current run is set to end on 31^st August 2024) but I definitely think it deserves to run not just for months, but for many years to come.

To date Two Strangers have carried a cake across Northampton to Ipswich to Kilburn and now to Piccadilly Circus in London’s West End. That’s quite the journey in 6 years from 2018-2024. Where will this cake end up? Surely this has to end up on Broadway one day! Here’s looking at you kid.

The current run was set to end on 4^th July 2024 but just a few days after press night it was extended to 31/08/2024 – instant evidence to just how popular it’s West End transfer has already been.

Further information and tickets

©Tiemo Talk of the Town

Photos © Criterion Theatre

Links:

Love Steps, Omnibus Theatre review – 07/04/2024
Shifters, Bush Theatre review – 07/04/2024
Black Out Theatre Nights: To Black Out Or Not To – That is the Question? Tiemo Opinion piece – 03/04/2024
This Might not be It, Bush Theatre Review – 04/03/2024
For Black Boys, Garrick Theatre review – 20/02/2024
Two Strangers (Carry a Cake Across New York), Kiln Theatre review – 20/01/2024
Typical, Soho Theatre review – starring Richard Blackwood. Directed by Anastasia Osei-Kuffour – 28/09/2019

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Posted in Arts and Culture, Theatre reviews | Tagged dujonna gift, Jim barne, Kiln Theatre, kit buchan, sam dutty, tim jackson, two strangers, two strangers carry a cake across new york | Leave a comment

Reginald D Hunter: The Man Who Could See Through Shit – Review, Leicester Square Theatre

Posted on April 15, 2024 by Tiemo Talk

Review Date: 6 April 2024
Venue: Leicester Square Theatre, London WC2
Star Rating: ***

The man called Reginald D Hunter is back with another striking, enigmatic show title. The title refers to his mother Lucille’s phrase “It’s easy to see through shit. The hard part is pretending you haven’t.”

In his latest offering Hunter explores family dynamics – both from afar relating to his family back home in Georgia and closer to home via the revelation he is now a father. The audience breaks into applause but he begs them not to as “it’s not like that”! It’s a fascinating revelation indeed. All I’d say is it’s a pity it wasn’t elaborated upon as it’s quite an unusual tale and could have based quite a routine around it, a whole show even. Hunter elected not to and it’s his personal life so he’s every right not to. Yet, he brought it up and frequently has spoken in detail re personal family matters over the years.

Reginald D Hunter

I enjoyed the UK-USA cultural differences he acknowledged. There was a very funny response to comments from his USA family asking if the discord over Brexit had lead to shooting yet.

On the subject of shooting, whilst he was back in Georgia he got caught up in a shooting incident. Whilst all around him ducked for cover he didn’t. Years of ‘Anglicisation’ must have made him forget the automatic response to shootings, which is sadly probably second nature to many Americans.

There was some crude analogies as ever, although on this occasion, as is Hunter’s won’t it wasn’t done merely for sensationalism but to make a acerbic point re how he perceives the Conservative government have treated it’s citizens over the years.

There was a running joke re a number of dreams involving prominent African-Americans such as Kanye West, Will Smith, Lizzo and former President Barack Obama.

He referred to his annoyance at being called to speak on “African-American issues” by radio stations. He is reluctant to be seen as a spokesperson for all Black people, especially when he can’t even speak for all his own family. Plus, he has opinions on economics and politics, so why don’t they consult him for opinions on matters over than race?

There was the traditional “lights up” weird but hilarious public surveys he likes to conduct. Great fun but hard to see the point of them over than pure laughter. Or maybe Hunter has a secret side hustle as a Market Researcher specialising in only the most bizarre of questions!

He refers to his daughter saying he’s “not a jokey jokey comedian.” No denying that. It’s not Hunter’s bag really. That point was highlighted to an extent when someone in the audience heckled “P Diddy.” A clear reference to Sean ‘P Diddy’ Combs current travails. Hunter heard it, smiled and carried on with his set. He wasn’t going to get distracted. Which is fine, but it might have been interesting to hear his take on the situation and maybe working on developing the more off the cuff, spontaneous element of his repertoire. Having said that the allegations are not a joking matter and unless responded to appropriately or with a well judged gag that doesn’t send the wrong signal it was probably best steered clear of. I think Hunter’s found himself in enough trouble in the past without straying into other minefields! For instance he mentioned Israel. The audience hushed, wondering what he was going to say … and he just moved on! Some topics are too hot for even Hunter to entertain.

Nevertheless Hunter delivered a very funny show in his customary thought provoking style. It was inimicably Hunter – thoughtful, personal, not mining traditional comedy fare and with plenty of big punchlines.

I’d hoped for a longer set, but it concluded after 45 minutes. Some of the aforementioned topics could have been explored in more depth to extend the show. With the support act having done 40 minutes the audience still got great value for money and with a show due in shortly after there was little room for going over time.

Al Porter

I’d not heard of Al Porter before and wasn’t expecting him as support act on the night, but what a fabulous surprise opener he turned out to be. He brought the house down with his gags and first rate audience banter. Porter’s from Tallaght, Dublin and co-incidentally he happened to engage in banter with a Dubliner sat in the front row with his wife. He was a good sport becoming the butt of many of Porter’s jokes. He skillfully brought a number of audience members into the show but it was all good fun and taken in good spirit. Porter is a very funny man and brought good natured, rapid fire jokes and brilliantly involved the audience in his extremely entertaining and original performance.

He had a bag full of gags and literally old school (in a modern sense) gags from his school days growing up on a tough council estate. His early disclosure of being gay was quite pertinent to his performance and a number of his jokes landed superbly because of this.

Al Porter

He certainly seemed to have had a colourful upbringing with such a rich variety of characters including priests, school girls having babies and taxi drivers.

There was a sombre moment at one point which was somewhat out of kilter with the rest of the show but was said in all seriousness and wasn’t as initially expected the set up for another joke. This related to a 5 year period when he was effectively cancelled in Ireland resulting in his career completely stalling. He didn’t elaborate at all on why but just urged people learn from their mistakes and hoped that people could be forgiving of one another’s misdemeanours. The gear change from “jokey jokey” comedian to seriousness was almost Hunter like, but I admired his honesty. Whatever the merits or not of the cancellation it is a great shame that Porter was absent from the stand up comedy scene for such a long time.

Hunter mentioned in his set that his management offered Porter to him (no, not in that way) as support act for his show. He looked into the matter that got him cancelled and was fine to have him as his opening act.

That was very generous of Hunter as many might have not been so accommodating. Porter was the perfect foil for the more thoughtful, introspective comedy of Hunter. Porter deserves to go places and I’m sure he will do. Do check him out if you get the opportunity to do so on tour or on television, as I’m sure it won’t be too long before he’s getting booked again for TV work.

This was a tremendous night of comedy from Reginald D Hunter and Al Porter.

Links:

Black Out Theatre Nights: To Black Out Or Not To – That is the Question? Tiemo Opinion piece – 03/04/2024
For The Culture Review, Lyric Theatre Hammersmith Review – 13/03/2024

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Posted in Arts and Culture, Comedy Reviews | Tagged al porter, reginald d hunter, the man who could see through shit | Leave a comment

Diane Abbott – Frank Hester Race Row – Opinion

Posted on April 13, 2024 by Tiemo Talk

“Ms Abbott made me want to hate all black women and … she should be shot,” Frank Hester, CEO of The Phoenix Partnership (TPP) and major Conservative party donor, is alleged to have said at a TPP work meeting in 2019.

There were calls for the Tory party to return the £15 million donated in the last two years.

Hester’s apologised for being rude but not making racist comments. That says a lot. He said he’s reached out to Diane Abbott MP to apologise for his comments. We don’t as yet know if he’s spoken to her to make the apology or submitted a written apology (which in this day and age shouldn’t be too difficult to do if he hasn’t already).

Frank Hester

I suspect there’s an element of self-preservation around all this. He’s not a fool and knowing that Abbott’s reported his comments to the Police, he was careful about how he ‘acknowledged’ these comments which on the face of it are (a) racist and (b) an incitement to have an MP murdered.

What is clear is that prior to last month’s furore he wasn’t a well known public figure and therefore no one really knows for sure if he is racist as there is little public knowledge of him. That said, he’s reported to have made offensive sounding comments about Indian people too so it’s understandable people have jumped to conclusions.

At this point in time, a month on from the scandal breaking, we still don’t know if a personal apology to Miss Abbott has been made and if she’s accepted it.

Giving him back his £15 million donation or rescinding Hester’s OBE wouldn’t in reality amount to a hill of beans. Giving an alleged racist £15m hardly seems a punishment! Better of donating it to me (I wish) or other individuals or businesses that could benefit from it if the money is perceived to be “dirty money.” I don’t see it as that, for as far as we know it’s been legitimately earned. In fact in a roundabout way it’s public sector money, “our money” as his company has been said to have earned an enormous £400m in NHS contracts.

Removing the OBE – might hurt as a personal sleight, but with a £400m fortune I don’t think Hester would lose too much sleep over that.

Further, I don’t see either action meaning much more than a gesture. Would it end racism? Would it teach Hester a lesson? Would it seriously punish him? Would the Tory party gain from it? I don’t think so. Whilst I can see politically it’s been damaging and will potentially be used against them when it comes to May local elections and the forthcoming General Election (which actually could occur in January 2025 at the latest so let’s stop getting carried away re an imminent General Election!)

[As an aside, the current Angela Raynor woes is precisely why Sunak is in no rush to call an election now. It can only take a scandal out of nowhere to derail the Labour juggernaut and boost the Tories chance of holding onto power. In fact something like that could potentially trigger an election as an event the Tories could look to capitalise on. I don’t think the Raynor issue is that … even if worse case scenario for her she resigns].

Dianne Abbott MP

Back to Abbott-Hester. If anything I suspect many political parties including Labour and Lib-Dems will have their fair of “dodgy donors” whether racist or otherwise (we just don’t know it yet … but I’m sure someone could do some digging if they were so inclined to). Further, it’s potentially an opinion many share but daren’t voice in public or privately for fear of the backlash.

A far better line of attack would be to terminate his NHS contracts. Probably easier said than done but nonetheless there are certain guidelines and principles firms contracted to the NHS should adhere to and these include matters of equality and fairness. TPP have an ‘Equalities, Diversity & Inclusion Policy Statement’ that aims to: ‘Creating an environment in which individual differences and the contributions of all team members are recognised and valued.”

I wonder how their employees, especially any of their Black employees, feel about their CEO and continuing to work for TPP as their CEO’s reported comments (which he hasn’t publicly denied making) don’t seem in line with his company’s EDI Statement. You cannot have a CEO not abiding by his own company’s policies around conduct and equal opportunities.

A more pertinent line of enquiry would explore this. I’m more interested in the reaction and response of the staff and any others in that infamous Leeds meeting. Did they challenge the comments? Did they report them to their manager, HR or other Senior Directors? Was there an investigation and if so, what was the outcome? What is their view re him bringing TPP into disrepute by the actions of their Founder and CEO?

I know that’s a big ask for staff to challenge the CEO, but nonetheless there are or should be processes in place for challenging and disciplining even a CEO in such a major private company. Whistleblowing anyone?

If people are really unhappy and want to see justice served, they could write to the NHS Trust’s/GP’s etc… other firms TPP do business with and request they cancel contracts with them as a consequence of his actions. Why should TPP have access to half the nation’s patient records (held with GP practices)?

The Equalities and Business Minister Kemi Badenoch has come under some fire for saying the matter was “trivial and it was time to move on” [LBC Interview with Nick Ferrari 18/03/2024].

I tend to agree with her. In the grand scheme of things, some 5 year old comments by someone no-one’s heard of doesn’t amount to much. The so called intended “victim” of the comments presumably didn’t even get wind of them until March 2024. She’s still in the land of the living, so clearly no action on the shooting took place and I don’t believe for one minute Hester was actually serious about that comment.

It’s been a fascinating story and will play out in time but for two reasons it will in the fullness of time be seen as “trivial” by even those who see it as anything but, for the following reasons:

1 – The media and politicians in the main have already moved on from this – less than 12 days after the story blew up on 11/03/2024.

2 – There will likely be a failure to prosecute a line of attack that makes a difference (either by the Police – I don’t see this going anywhere as he’ll likely deny there was intent in the comments [that depends what witnesses interviewed say .. so it could actually result in a penalty. I think it could at the very worst result in a 3-6 year jail sentence, but I’d be shocked if that was the outcome]. There will likely be a failure to follow up by those aggrieved by this. Have they the bravery and stamina shown so boldly for instance recently by the Post masters challenging the Post Office and Government for compensation and will they tackle it in the most pro-active and effective way as I’ve suggested in this article?

Why he made the comment we don’t know. Had he had a bad issue with a Black woman or women, in the workplace, or out of the workplace? Had Abbott or other MP said something to offend him in 2019 or since?

Abbott mentioned feeling threatened as “single woman”. That’s understandable in the current climate with people thinking it’s OK to verbally or physically abuse or intimidate MP’s. It does rather raise the question of why she is single though and how that ties into this debate. Not much is known about her relationship status and to be fair outside of party leaders we don’t tend to know or see too much of spouses or partners of high profile MP’s. Nonetheless and this will probably land me in hot water, but one might wonder whether many Black men secretly concur with the Hester quote: “Ms Abbott made me want to hate all black women …” as demonstrated by their actions when it comes to relationships and who they choose to date as it’s pretty clear a great number of them have a preference for dating white women as opposed to those of their own ethnic and racial origin.

It’s undeniable that a high proportion of Black men do not date Black women in this country and there are a good number of Black women who remain single because of this (including Abbott herself) and their preference to date “one of their own”. Yes, I know this is a whole other topic but I think it’s a reasonable observation to make as Abbott brought her relationship status into this.

I hope Hester learns from this and is genuinely repentant of his comments and will revise his opinion of Black women. Nothing Abbott’s said publicly merits the approbium Hester and others have poured on her over the years. You don’t have to agree with Abbott or her politics – and she wouldn’t expect everyone to do so – but there’s no need for vile hatred of the woman or any politician for that matter. We need to dial down the verbal attacks in this febrile pre-election period.

I think a more practical, robust approach is required to address the issues highlighted by this case, but ultimately this is one for TPP to address, more than the Prime Minister and I don’t agree with around 80% of the focus of this story being on the PM’s and Tory parties response to this. Hester is the culprit not Rishi Sunak and his party and with him alone should the spotlight be on.

©Tiemo Talk of the Town

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Posted in News, Politics | Tagged dianne abbott, frank hester | Leave a comment

Love Steps Review, Omnibus Theatre

Posted on April 7, 2024 by Tiemo Talk

Review Date: 5 April 2024 – Press Night
Venue: Omnibus Theatre, Clapham, London SW4
Star Rating: ****
Cast: Sharon Rose and Reece Richards
Writer, Director & Producer: Anastasia Osei-Kuffour
Co-Producer: Ebenezer Ademisoye
Production: Omnibus Theatre, Talawa Theatre, TO Entertainment and Wrested Veil

Anna is ‘young, gifted and Black,’ driven, ambitious and smashing it. She has it all except one thing. Love. How can someone so accomplished, focussed and driven in every other area of her life not have the one thing that she feels would make her life complete?

In this brand new, two hander, debut play – ‘Love Steps’ – from Anastasia Osei-Kuffour, Anna is played by Zimbabwean actress Sharon Rose. Acting alongside co-star Reece Richards acting out multiple characters we observe Anna’s journey to find “the one”, find romantic ‘oneness’ with a man. It’s an entertaining, funny and varied journey as Anna searched for love in night clubs, in church and on the internet via the minefield of dating sites. It was a lot of fun watching Anna ‘swipe right,’ left or ignore potential matches. She has quiet a list of qualities she is looking for, but so to do some of the men on these sites. Some want a meaningful, serious relationship; some seem just interested in sex and the physical side of things.

Love Steps

The choreo-play play mixes straight acting, with dance, poetry and music to symbolize mood and feelings; intimacy and distance; connection and disconnection.

Rose conveys the highs and lows of the dating game with great aplomb. When ghosted or rejected when things seem to be going well, the puzzlement and pain of being in that predicament comes across clearly. That sense of not knowing why something’s not worked out when no explanation is given. That’s quite cutting and one take away from the play is the reminder that people are human beings with emotions and though one person may choose to “ghost” someone or end a relationship without explaining why they need to realise this can be very hurtful as the person left hanging is simply mystified and hurt if they had hoped to get into and see where a relationship might go. They won’t so easily have walked away and will be left in limbo, wondering. I think people, men and women alike, need to bear that in mind and explain themselves wherever feasible, with tactfulness and empathy. It may simply be nothing personal – the person might be too busy for a relationship, not ready for one etc.. but the person left won’t know that and the natural tendency might be to blame themselves and feel they’re not good enough or have done something wrong. Even if the latter, better to know than to leave someone in the dark. That way everyone learns and has the potential to accept the situation/decision, move on and grow from it.

Reece acts really well as one of a number of suitors, as well as playing her father – offering fatherly advice such as not to rush things – even if things seem to be going very well. Her mother appears sporadically – more of a ‘pressure’ character asking when she is going to get married etc…

The Two hander play is becoming something of a popular formula nowadays – three of the plays I’ve seen this year already – have had just two characters – Two Strangers (Carry a Cake Across New York); Shifters and This Might Not Be It (two main character plus one other key but relatively minor par).

Reece Richards and Sharon Rose (Anna)

Issues of shadism arose and how it can be more difficult for darker skinned black women to find love living in this society where white and lighter skinned Black women are more favoured and promoted as sexual beings. I loved the reference to last month’s Dianne Abbott scandal (which must have been a late, topical addition to the story) – mentioned by way of making the point about how Black women are judged differently to others in society, particularly dark skinned, high achieving women.

The set comprised a plain white background and that simplicity worked just fine as it left the focus to remain squarely on the words spoken, the acting, the dancing and music and how they all combined to help tell the story of Anna’s quest for love.

Love Steps is a wonderful debut play from Anastasia Osei-Kuffour. It conveyed the joys and pains of looking for love via well acted emotional highs and lows, laughter, pathos, witty dialogue, sensual dancing and a thumping soundtrack.

There were moments of audience interaction which could have worked better if the audience got more involved. At times they certainly did; but on other occasions I don’t think they knew if they were meant to or not – so that needs a little work on by Rose if she actually wants an audience response. Or for the audience to just be braver and respond when asked questions! There were a lot of knowing nods to some of the trials and tribulations Anna went through so the play was striking a chord with many.

An interesting and wide ranging informal post show discussion lasted longer than the 70 minute play itself!! I’m not sure if that was the writer’s intention, but it’s certainly to her credit that the play sparked such lengthy discussion covering shadism, inter-racial dating, impact of being ghosted, being dumped, dating someone who’s on the rebound when you aren’t. That gets complicated as one is totally ready for and committed to entering into a new relationship and the other on the rebound is perhaps knowingly or unknowingly not yet ready to enter the relationship arena again.

Sharon Rose (Anna) and Reece Richards

It was fitting in a way as the discussion and the play itself highlighted “societal pressures placed on people to find a significant other and questions whether finding love defines one’s identity and how self-worth and self-esteem can exist outside of that.”

Commenting on her semi-autobiographical work, which also explores Black female identity and racial perspectives on beauty, Anastasia says: “When I was younger, I struggled to identify with romantic love represented in mainstream theatre, TV and film. I rarely saw myself reflected in those stories or in stereotypical beauty industry images. I wrote Love Steps to counter skewed cultural messages, highlight the turbulent love journeys people experience and hopefully inspire greater understanding for others. Drawing on my own experience for inspiration adds an authenticity I hope will move audiences and allow people to see themselves in what is essentially a story with universal relevance.”

Love Steps certainly did this and it was as intended, refreshing to see Black love/the pursuit of depicted on stage.

As I said earlier we all need to remember the impact of our actions and bear in mind how others feel if you have unanimously decided to bow out of a relationship – no discussion allowed. The issue of stringing women along came up too – women tend to be working to their biological clock timetable so have far less time for time wasters and being strung along, so men especially need to be mindful of that and either take the relationship seriously or bow out if they’ve no intention of taking it further. That said, there will be many times when dating is simply enjoyable for what it is and neither party knows where it’s heading – whether they seriously want or expect it go anywhere or not.

Love Steps is well worth seeing and you’ll need to Step to it if you want to see it before it’s run at the Omnibus Theatre ends later this month before a short stint at Fairfield Halls.

Love Steps is playing at Omnibus Theatre, Clapham, London 3-20 April 2024 and Talawa Studios, Fairfield Halls, Croydon 29 May – 1 June 2024. Further information and tickets £18 standard. £16 concessions.

©Tiemo Talk of the Town

Photos © Steve Gregson

Links:

Shifters, Bush Theatre review – 07/04/2024
Black Out Theatre Nights: To Black Out Or Not To – That is the Question? Tiemo Opinion piece – 03/04/2024
Keep CAMHS and Carry On as This Might not be It, Bush Theatre Review – 04/03/2024
For Black Boys Review, Garrick Theatre Tiemo review – 20/02/2024
Two Strangers (Carry a Cake Across New York), Kiln Theatre review – 20/01/2024
Typical, Soho Theatre review – starring Richard Blackwood. Directed by Anastasia Osei-Kuffour – 28/09/2019

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Posted in Arts and Culture, Theatre reviews | Tagged Anastasia Osei-Kuffour, ebenezer ademisoye, reece richards, sharon rose | 1 Comment

Shifters Review, Bush Theatre

Posted on April 7, 2024 by Tiemo Talk

Review Date: 27 March 2024
Venue: Bush Theatre (Holloway Studio), Shepherds Bush, London W12
Star Rating: ***
Cast: Des(tiny) Heather Agyepong and Dre(am) Tosin Cole
Writer: Benedict Lombe
Director: Lynette Linton, Playwright and Artistic Director, Bush Theatre
Production: Bush Theatre
Staged By: Jerwood

A chance meeting at a funeral brings a re-uniting between Dre(am) and Des(tiny). Dre (Tosin Cole) hadn’t seen Des (Heather Agyepong) in years since their relationship ended when they were much younger. Here they were unexpectedly locking eyes at a funeral. Was tragedy going to bring this ex-couple back together? This is the essence of ‘Shifters’ which features just these two actors. Despite it being just the two of them on stage it doesn’t feel like you’re just watching two actors due to them playing multiple characters/versions of themselves as the clever use of the exciting night club, strobe lighting helps signify either them shifting into different characters or different timelines in their relationship.

The set was interesting and quite unusual. It felt more like a tennis court setting with two stands on either side separated by the stage/tennis court right in the middle. The lighting gave it the night club feel but it also represented many different settings – church, club, home, the streets etc…

Dre (Tosin Cole) and Des (Heather Agyepong)

Des and Dre veer between being old friends and a couple looking to see if they can or if they even want to rekindle the romantic sparks of old. I’m not a big fan of the constant shifting and moving between one and another character as you can sometimes lose the chronology and flow of the story as opposed to a more traditional play with numerous actors playing individual roles or the same ones dressed in different attire thus clearly signifying other characters. This jars and doesn’t allow the story to flow seamlessly and in order and felt a little all over the place at times which wasn’t ideal.

Nevertheless I couldn’t fault the acting of Heather Agyepong and Tosin Cole. They were convincing in their roles, their struggle with love, desire and the situation they found themselves in. They act this out superbly via not just their words, but through well choreographed dance moves signifying closeness and distance.

It was so refreshing to see a Black love story portrayed on stage. Shifters is a play free from many of the common, negative stereotypes often shown on stage or television. There was a great deal of fun and laughter between Des and Dre and/or whoever they were being at the time! Shifters also covers deeper themes of abuse and trauma and explores the impact of past relationships on present and future ones yet to be lived.

At 90 minutes with no interval it felt a little overlong and I think it would have benefitted from having an interval in at the 45-60 minute point.

Tickets shifted so fast for Shifters that the play was soon sold out which is testimony to how audiences really enjoyed it and I Imagine there’ll be a clamour for it to return to an even bigger stage.

©Tiemo Talk of the Town

Photos © Craig Fuller Photography

Links:

Black Out Theatre Nights: To Black Out Or Not To – That is the Question? Tiemo Opinion piece – 03/04/2024
Keep CAMHS and Carry On as This Might not be It, Bush Theatre Review – 04/03/2024
For Black Boys Review, Garrick Theatre Tiemo review – 20/02/2024
Two Strangers (Carry a Cake Across New York), Kiln Theatre review – 20/01/2024

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Posted in Arts and Culture, Theatre reviews | Tagged Benedict Lombe;, Heather Agyepong, lyneett linton, shifters, Tosin Cole | 2 Comments

Black Out Nights at Theatres – To Black Out or Not – That is the Question?

Posted on April 3, 2024 by Tiemo Talk

Black Out Nights, London’s West End

Black Out Nights are here in London’s West End. An imported concept from America. For those unaware these are set aside performances of plays aimed at Black only audiences. They tend to be added for racially sensitive productions. They hit the headlines at the start of the month when it was announced that ‘The Slave Play’ will have two Black Out nights in June 2024.

Some were up in arms saying why are theatres excluding non-Black audiences. Slave Play Playwright Jeremy O Harris hit back saying they’re not excluding non-Black audiences – they are welcome – it’s just that these nights are set aside for Black audiences so they feel they’re in a “safe space” to process the themes of the play and any “triggering” that may arise as a consequence.

This is an interesting concept and to be honest my stance has fluctuated from one of this is totally unnecessary, to one where in certain circumstances there is merit in it, but not in the way the concept is currently being practised as far as I can see.

For Black themed plays such as Slave Play and Blue, while I can see it’s a laudable concept I think it’s wholly unnecessary. Black audiences have got along very nicely without such nights. In our capitalist, market driven society theatre goers see what they want to see, when they want to see it. Providing they can get tickets that is!

By process of self selection you get Black out nights naturally just by what interests Black audiences so as theatre, concert and stand up comedy lovers it’s already not difficult to attend shows predominantly attended by Black people. It maybe that this is a concept for more high brow productions for want of a better phrase that doesn’t necessarily attract a majority Black audience. That to me sounds more of a marketing issue than anything else.

Perhaps the issue therefore might be getting such audiences into the West End or less obvious “Black productions.” For instance the new play Blue has just opened in the West End and had two Black Out nights. The concept may have worked for them as a publicity gimmick to garner more attention to the play. Good luck to them with that. It comes down to marketing and promotion.

The bigger question then becomes are playwrights, theatres and PR teams etc.. all doing enough to reach out to Black audiences, in their communities?.My experience says they aren’t. For instance I recall the play ‘Barber Shop’ a few years ago. A hit play at the National Theatre. If ever a play needed to be promoted in the community that was it. Did I see flyers and posters in barber shops across London and beyond? In take away shops, hairdressers, record shops etc…? Flyers circulated outside comedy shows, concerts and other popular Black entertainment shows? No I didn’t. That’s on those promoting shows and wanting to attract a Black audience. They must promote where the audience is to be found including Black newspapers, radio and TV stations.

Added to that I would also say Black people are simply choosing not to see certain shows and artists – be they Black shows or mainstream. It’s not unusual for me to be the only or one a handful of a Black people at a mainstream show whether in or outside of the West End. That shouldn’t be the case in London. We are spoilt with an abundance of terrific shows here that other towns, cities and villages across the country would kill for yet seem reluctant to attend en masse. It’s as if Black people want to “stay in their lane” and not cross over to mainstream when it comes to paying to see live entertainment. Funnily enough “crossing over” doesn’t seem to bother Black men when it comes to dating, but hey that’s another topic for another blog!

In conclusion I would Black Out Black Out nights where the aim is to generate more Black audiences for plays (mainstream especially, as well as Black themed plays). Maybe that could be a game changer in diversifying theatre audiences. In which case good luck to them.

Do You Agree with the forthcoming ‘Slave Play’ West End Black Out?

Would it encourage you to attend on one of the 2 nights set aside for “all Black audiences only” or would you simply go on the night/matinee that works best for you?

The Prime Minister Rishi Sunak has criticised the move as not being inclusive or appropriate if the play or theatre receives public funding.

Slave Play producers issue statement around black out performances in the West End following Downing Street comments.

Links:

Keep CAMHS and Carry On as This Might not be It – Tiemo Review – 04/03/2024
For Black Boys Review, Garrick Theatre Tiemo review – 20/02/2024

For Black Boys

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Posted in Arts and Culture, Theatre reviews | Tagged black out nights, blue play, diversity, slave play | 4 Comments

For Black Boys Review, Garrick Theatre

Posted on March 20, 2024 by Tiemo Talk

For Black Boys – All We Need Is Love

Review Date: 9 March 2024
Venue: Garrick Theatre, West End, London WC2
Star Rating: *****
Cast: Tobi King Bakare plays Onyx; Shakeel Haakim (Pitch); Fela Lufadeju (Jet); Albert Magashi (Sable); Mohammed Mansaray (Obsidian) and Posi Morakinyo (Midnight).
Writer and Director: Ryan Calais Cameron
Production: The Royal Court Theatre, Nouveau Riche and New Diorama Theatre production

What Do Men Want? That’s an interesting question. It’s also the title of an excellent book (with the sub-title ‘Masculinity and Its Discontents’) that I recently finished by Nina Power. It’s an in depth examination of men’s place, status and role in the Western world today written from a female perspective. I mention this as it’s quite an apt description of ‘For Black Boys (FBB)’ which also examines masculinity and its discontents not so much from a ‘Black men are a problem perspective,’ but more from what is it about Black men that has made them, in their many different types, the way they are – the good, the bad and the less appealing (being politically correct) so to speak.

FBB returned to the West End this March 2024 in it’s 4^th iteration since first hitting the stage at the New Diorama Theatre in Camden, London, in 2021, Royal Court Theatre (2022), Apollo Theatre in the West End (2023). The production shone a spotlight on 6 different characters, 6 different types of Black men, highlighting some of the common, major traumas Black men have gone through as Black boys en route to becoming teenagers and grown men. People, the media tend to look at the person, image of the Black man – especially any negative persona’s/perceptions, without taking the time and effort to try and understand what has shaped any aberrant behaviour they may be displaying/acting out. The choreoplay sets out to present a far more rounded, nuanced picture of today’s Black man.

The brand new cast, directed once again by the writer Ryan Calais Cameron, features Tobi King Bakare (Onyx); Shakeel Haakim (Pitch); Fela Lufadeju (Jet); Albert Magashi (Sable); Mohammed Mansaray (Obsidian) and Posi Morakinyo (Midnight). Through a series of tales and set pieces each tells their story via the conceit of a group therapy session to deal with each of their particular issues. Curiously enough all conducted without the presence of a Therapist in the room. You don’t tend to notice that as you watch. It’s upon reflection you realise a key person in therapy was missing!

The six are given free reign to bring their own interpretation and lived experiences to their respective roles, infusing a fresh dynamic and energy to this transformative theatrical experience which uniquely mixes music, movement, storytelling and verse. This effectively means the presentation of the work can differ each time you view the play with a different ensemble.

About the new cast Ryan Calais Cameron, writer and Nouveau Riche Artistic Director, said: “The themes explored in the play are timeless, and I am genuinely thrilled about the prospect of witnessing the new cast infuse their own unique energy and brilliance into the production. Each member brings a wealth of talent and dedication to their roles, and I am confident that their interpretation will breathe new life into the narrative.”

Act I

One character (Midnight) was troubled by the time when Roots was shown on TV (first broadcast 1977 UK) and how Black children/schoolchildren weren’t prepared for this – not just the trauma of seeing slavery enacted so graphically, but the playground reaction to it. He proclaims, “What good ever came from Black history bro? How does telling a don, that his people-dem, used to get beaten in the streets, by little White men, gonna empower him?” On a lighter note, another was troubled by games of kiss chase and the fact he seemed to deliberately never get “caught and kissed” yet other boys, specifically always the white boys, were? A negative, troubling sense of “othering” developed, a theme underpinning many of their stories.

Obsidian, the graduate, most academic man in the play is teased for not using the N word as some of his friends did and for having a go at those around him who used the word. He really put them in their place with a trenchant defence of why he abhors the word.

Another character was stopped and search by the police as he went about his business. There was no logical reason for this and he could only deduce that it was simply for the crime of being Black and merely walking around his neighbourhood. It is clear how repeated unwarranted stop and searches of innocent men such as this can lead this man and his peers who suffer the same indignity to develop a complex about the Police and escalate to levels where the Black man is likely to be the loser with either the Police and/or the justice system. It can almost be a no-win situation unless handled very well. There was a great line from him about doctors and fireman by way of comparison. Essentially saying don’t bother us innocent men. “We’ll call you if we need you!” That got a great laugh from the audience. It’s the indignity of it all, the assumption you might be guilty of a crime when you’re completely innocent which is terribly damaging to the psyche and sense of wellbeing and belonging.

One criticism I have of the play is that the six characters aren’t introduced by their names and don’t refer to one other by their names so the viewer doesn’t actually know who they are unless well acquainted with the programme notes in advance. That’s unusual and presumably deliberate on the part of Ryan Calais Cameron. Perhaps it was just not deemed important enough. Whilst it doesn’t actually detract from following the story, it does make it necessary to read the programme for clarification on who’s who. I would have thought if that’s the case then maybe they should either all wear name badges or refer to one another by name throughout the play.

In amongst the serious stuff there is an abundance of good natured humour, song, dance and audience interaction. Some of the funniest moments occurred when one of the men pretended to chat up a woman in a stripy top in the audience, then seeing some of the other guys joining in, competitively testing out their chat up lines with her and a couple of other women in the audience.

The songs seemed different from the last show – which helped retain the show’s fresh and vibrant tempo. That’s further highlighted via the colourful, street clothing they all wear; allied to colourful set and two tier set – the stage and scaffolding created balcony. The actors make terrific use of this running around, jumping off and using it to embellish set pieces and be centre stage looking down towards their fellow actors.

Midnight (Posi Morankinyo) [the tallest man in the play by some distance] – felt negatively judged because of his height and dark skin. You could feel his hurt by the curtness in his response at being referred to by his tallness. Being harshly judged by having dark skins was a common theme all but one (Sable) of the men alluded to. There needed to be positivity around this. It’s not something they can change and obviously not something anyone should be judged on for they cannot change or help that. As Rev Martin Luther King famously said in 1968, “I have a dream that my four little children will one day live in a nation where they will not be judged by the colour of their skin but by the content of their character.”

The hightism is an interesting one. Not just from a stereotype that comes with being tall and dark but people thinking it’s OK to tease someone because of their height – be that very short or extremely tall. I don’t think people think about that too much and it’s an easy target for jokes. I am reminded of Richard Osman talking about this to Dragon’s Den star and businessman Stephen Bartlett in his interview for the Diary of CEO podcast (2022).

It was strange, but highly emotional seeing Midnight breaking down to a Stormzy track bemoaning that he just wants to be loved. As with the Jet character, he lives in a society where his physical identity as a tall, hard looking, dark skinned black man is perceived as at odds with the natural human desire to be loved.

Onyx (Tobi King Bakare) gets into a fight. He claims “I dethroned the King. I am now the King.” That’s an ironic line for him to speak considering his real name. From that moment he decided that the guys on the street were his family not his actual “blood” family. This spoke to the well known distant father-son relationship in the Black community. Unfortunately it’s all too common a theme in the Black family – not only the absent father, but the “present” father who is effectively absent as he is not there emotionally or otherwise for his son(s) and daughters. This is particularly problematic especially for, but not exclusively, for boys as girls need their fathers too, for different reasons.

ACT II

Act II sees the therapy session go much deeper. There’s a lot less joking about and more support given to one another as they really go there with their backstories. The acting, dancing and singing used to relate the story is superb and really draws you in to caring about who the characters are and their various traumas. This ‘choreoform’ of art used – mixing acting with singing and dancing takes the play to another level and lets the men unpack their emotions in means they were more comfortable than simply talking in the classic play format.

Without giving too much away for me I got the sense it was a lot about Black men feeling isolated and unloved. Isolated from one another, their families, fathers, society at large and unloved. Yes, many can find girlfriends but they don’t feel they truly can be or deserve to be loved, so put up a barrier to stop themselves getting hurt and in so doing arguably those barriers are the blockages to finding and keeping love. They put on a tough guy exterior to protect but it’s not really serving them well. This many of the characters acted out so convincingly. As the Beatles famously sung, “All you need is love.” Somehow, somewhere along the way, society thought Black men, men in general per se, didn’t need love. Men may well not act like they need it but they do to function well just like any other human being. The Beatles spoke to a universal theme when they wrote that song.

There were a couple of stand out moments – Jet (Fela Lufadeju) the queer man who only comes out in the dark as it’s literally not safe for him to be out in the light as his dominant ‘Black identity’ is in conflict with his sexual one. I could see that coming as he was the only character not to talk about his past girlfriends or current relationship status at all. Whilst it’s not something that’s popularly seen as acceptable by the majority of the Black community, you could really feel his pain and it was brilliantly acted by Jet and Sable (Albert Magashi) who accompanied him towards the end of his set piece scene. You could feel his pain jumping out of the stage. Magashi also starred as England Footballer Jadon Sancho in the fantastic National Theatre production of ‘Dear England’ another play that looked at men’s mental health, psychological well being and psychology in it’s exploration of the psychological block England had experienced in winning penalty shoot out’s and major tournaments.

There was also a shocking knife crime scene. I don’t recall this from the 3^rd iteration of the play at The Apollo Theatre but that was poignant and provided one reasonable explanation for the predominance of knife crime in the Black community. That someone can casually take another man’s life – without sparing any thought for the impact of that on the man’s family, mother, father, siblings and friends. It’s so cold but in reality is the manifestation of people with no self love and feeling no love from the society and world they live in. This isn’t the place to go into detail on that but it’s certainly a subject that needs exploring and I’m sure is being by many groups.

Act II was extremely powerful in the way it delved deeply into men’s trauma. It truly felt like you were eves dropping on the unpacking of years of private, personal, never before shared trauma, via a public therapy session.

I have to be honest and say I didn’t feel that the issues outlined were such that could lead a man to commit suicide as per the play’s full title as to me the issues came across as those that were within the range of average, everyday circumstances for Black people, except the homosexuality aspect. Nevertheless, I appreciate that everyone handles such issues differently. It’s interesting the focus was on your men under 30 as the suicide rate for young men under 30 is the lowest of all groups. One in five suicides in 2021 were by someone under the age of 30. 3 in 4 by men. Suicides were highest for men aged 50-54.*1

The audience make up was I’d guesstimate 70% Black women, 25% Black men and 5% white or Asian. I actually felt like the marmite in a white bread sandwich as I happened to find myself seated between two White women either side of me! Whilst anyone can buy a ticket to see this play, I would say that Black men would find it really beneficial to see this play for it’s a rarity for Black male issues to be covered like this in mainstream culture. The clue’s in the title and presumably that’s its target audience. I hope all involved in the promotion of this are addressing that. It may be challenging as I suspect theatre is probably not the social activity of choice of many young Black men.

On a lighter, but important note nonetheless, I’m so pleased the writer took on board my advice (others might have suggested it too) in our 2023 review to shorten the name to ‘For Black Boys’ as the full title was far too unwieldy and un-memorable.

For Black Boys is a truly sensational play that has re-opened a dialogue about Black men’s mental health. It was a joy to see the conversations it sparked up post show and observe that the Garrick Theatre remained open for people to remain seated and quietly process what they’d just witnessed.

The play once again left me and I’m sure many who watched it with much to think about.

Update: 20/03/2024 – Due to popular demand For Black Boys has been extended to 1 June 2024. Tickets from £15 available from Garrick Theatre

Links:

* Males aged 50-54 were found to have the highest suicide rate (23.1 per 100,000). England 2022. Source: ONS – Samaritans
For Black Boys with Ryan Calais Cameron – Dope Black Dads Video Podcast Ep 17 – 06/03/2024
This Might Not Be It Review, Bush Theatre, Keep CAMHS and Carry On as This Might not be It – Tiemo Review – 04/03/2024
Two Strangers (Carry a Cake Across New York) Review, – Kiln Theatre – Tiemo Review – 20/01/2024
Dear England Review, Prince Edward Theatre: From Also Rans to World Beaters (Nearly) – Tiemo Review – 19/01/2024
What Do Men Want: Masculinity and Its Discontents by Nina Power – Patricia Patnode Book Review – The Conservateur
Richard Osman – Body Shaming Video Interview extract – Diary of A CEO 22/10/2022
Typical – Starring Richard Blackwood – By Ryan Calais Cameron – Tiemo Review – 28/09/2019

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Posted in Arts and Culture, Health and well being, Men and Relationships, Theatre reviews | Tagged Albert Magashi, Fela Lufadeju, Jet, Midnight, Mohammed Mansaray, New Diorama Theatre, nouveau riche, Obsidian, Onyx, Pitch, Posi Morakinyo, royal court theatre, ryan calais cameron, Sable, Shakeel Haakim, Tobi King Bakare | 4 Comments

The Unfriend, Wyndhams Theatre Review

Posted on March 15, 2024 by Tiemo Talk

The Unfriend

Review Date: 6 March 2024
Venue: Wyndhams Theatre, London WC2
Star Rating: *****
Starring: Frances Barber, Lee Mack and Sarah Alexander
Writer: Steven Moffat
Director: Mark Gatiss
Production: Chichester Festival Theatre and Playful Productions

The Unfriend is about a couple on holiday – Peter (Lee Mack) and Debbie (Sarah Alexander) who befriend solo traveller and widower Elsa (Frances Barber), a lusty, Trump loving widow from Denver, USA. She’s something of a chatterbox, with a 1,001 stories to tell. On their final day of their cruise they agree to keep in touch. Perfectly normal thing to do. No one usually keeps in touch. What could possibly go wrong?

Peter (Lee Mack)

Well plenty in fact and that is the set up for this brilliant, funny, British, middle class farce. It’s been around for a few years, but only with Lee Mack since it returned to the West End at Wyndham’s Theatre on 16 December 2023. It’s tailor made for Lee Mack as the story is very much like an extended ‘Not Going Out’ episode so if you love that smash hit sit-com you’ll love this play.

There’s joke galore, a great story, tension and suspense constantly building as lie upon lie creates a nightmare for Peter, Debbie and family. Lee, Sarah and the two teenage children – Rosie (Maddie Holliday) and Alex (Jem Matthews) put in great performances – you really get the sense of panic and fear in the parents; and the typical teenager behaviour/fractious relationship between Rosie and Alex – albeit it hyper exaggerated with Alex’s anti-social, reclusive, loudness.

Frances Barber is fantastic – at turns mumsy and murderous sounding; such a commanding, dominating presence throughout. She gives the couple a few way outs along the way too to avoid all the drama that ensued. She’s actually from my home city of Wolverhampton but I can confirm she doesn’t sound like any women I know from that part of the ‘Black Country’! She affected such a convincing sounding American accent during the near 2 hour play that if you didn’t know she was a Wulfrunian Englishwoman you’d have genuinely thought she was American.

Rosie (Maddie Holliday) and Alex (Jem Matthews)

The neighbour (Nick Sampson) played his role perfectly and whenever he appeared there it, for him, unexpectedly ratcheted up the jokes level with him being the butt of many of the comments – both when he’s there and when he leaves the stage!

It is as much a story of British manners as anything else as the desire to do the right and obvious thing to stop Elsa in her tracks was trumped by the typical, politeness of the British of not wanting to offend, even if the invited guest they wish to immediately disinvite appears to be a murderer! There may be a moral in the tale here but that would be telling. The show has ended now but I wouldn’t be surprised if it returns again. My advise if it does return. Befriend someone and go along to see this hilarious drama.

Links:

Keep CAMHS and Carry On as This Might not be It – Tiemo Review – 04/03/2024
What is the Midlands Black Country and How Did it Get Its Name? – Richard Franks 09/10/2009
Dear England: From Also Rans to World Beaters (Nearly) – Tiemo review – 19/01/2024

If you wish to receive regular updates as soon as new Blogs are posted or join our mailing list please complete the form below.

Posted in Arts and Culture, Comedy Reviews, Theatre reviews | Tagged frances barber, lee mack, the unfriend | 2 Comments

For The Culture Review, Lyric Theatre: Just Here for the Culture

Posted on March 13, 2024 by Tiemo Talk

For The Comedy – An Evening of Comedy Supporting For The Culture

Review Date: 4 March 2024
Venue: Lyric Hammersmith Theatre, London W6
Star Rating: ***
Comedians: Aurie Styla, Dana Alexander, Dane Baptiste, Darren Harriott, Sharon Wanjohi and Slim
Production: Lyric Hammersmith Theatre in association with Nice N’Spiky Comedy

Relationships and health were two of the main themes covered by the 6 comedians at For The Comedy – For The Culture: Celebration of Blackness Festival fundraising evening at the Lyric Hammersmith Theatre.

It was nice to see the Associate Director, Nicholai La Barrie, a man of African-Caribbean origins, open the show by welcoming the audience and saying a little about the For The Culture: Celebration of Blackness season at the Lyric and the fundraising auction which aims to raise £40,000 for their programme of work. This is a curation of events creating space for joy, reflection, conversation and resistance, championing Black British artists, activists and thinkers. “For the Culture acts as an open space for our community to come together, see ourselves reflected in each other’s artistic work and most importantly, celebrate our shared history and heritage.” Nicholai La Barrie

Aurie Styla was a superb host. His audience interaction was first class and generated plenty of laughter. The unprompted, instinctive round of applause given to the couple in a 36 year marriage, that Aurie just happened to find himself chatting to set the tone for the relationship heavy theme of the night. When he found another couple who exceeded that by 6 years with their 42 year long marriage, the audience gave an even bigger round of applause. Such a long marriage is unusual to a lot of people and so I think that’s why people instinctively warm to such couples when decades long marriages are revealed. It gives people hope that it can be done.

Aurie Styla

That said when asked where the husband was, the wife joking that he was in jail, then dead, didn’t land too well with Aurie. He responded, “Words have power in the bible.”

I found that quite pertinent for two reasons. Firstly as words can become your reality, even if said as a throwaway joke. I presume Aurie had in mind Proverbs 18:21 –“The tongue can bring death or life: those who love to talk will reap the consequences. Our words have the power to build people up and give them life or tear people down and bring them to death.” Second, considering the amount of swearing by most of the comedians on the bill, except Aurie who was sparing in his profanity – a couple of utterances. As he rightly said, there’s power in words – negatively so when it comes to swearing. Then again you could argue that he did start it by saying some people have had life sentences of less than 42 years!

This was a great line up and the comedians were all really funny but I would say some of the performances were marred by swearing. The Lyric was around 50% full, yet with the talent on stage, location and the cause, it really merited being sold out. I would say the community are voting with their feet when it comes to the language they expect to be used on stage. If any of the acts were delivering a show to go out on Radio or prime time pre-watershed TV I’m sure they are more than capable of self-censoring out the language that if uttered would see their performance left gathering dust on the cutting room floor.

Dana Alexander

Dana Alexander was funny – joking re her relationship status – or rather lack of pre the Covid-19 2020 lockdown due to being too busy to be attached to someone. Her recollections of sexual harassment and over protective boyfriend were humorously told as she took the audience on a brief journey of her dating.

Being from Canada it was interesting to hear her take on cultural differences between our nations.

Darren Harriott

I enjoyed Darren Harriott’s set. Simply but effective joking about his origins – the Black Country (where this writer hails from) in the West Midlands and dating preferences as a follically challenged Black man. That resulted in some funny and awkward exchanges with the audience. Maybe he should have gone to Specsavers before bringing in people in the Upper Circle who he perhaps couldn’t quite make out … but may end up making out with even if they are of the “wrong gender!” I had a sense the Black Country line was thrown in more for comedic effect as I don’t know many people who refer to being from the Black Country. They tend to say the specific town they are from. That’s Wolverhampton in my case in case you’re wondering.

Sharon Wanjohi

Relative newcomer to the comedy circuit Sharon Wanjohi certainly brought a different energy to the stage. She was quick to introduce herself by informing the ‘congregation’ that she was an ex-school teacher and back-sliden Roman Catholic (RC). It’s unsurprising she’s an ex-teacher considering the liberal use of the “f” word in her set like it was going out of fashion. It’s difficult to square how that is consistent with her former teaching and Roman Catholic values.

Sharon also focused a lot on her relationship status, how she’s dated numerous men over the years, before choosing to go over to the “other” side. She bemoaned the RC church as being homophobic, but presumably when she was a church goer she was in agreement with RC tenets. That seemed a bit of a silly statement to make, even in retrospect, as why would she or anyone expect the RC church, or any church for that matter, to support homosexuality? It’s literally in their constitution i.e. the bible to be wholly against it for genuine God given reasons.*

It was clear that Sharon’s a talented comedian but the profanity and overt references to what many will see as an uncommon sexuality may not be doing her any favours.

Dane Baptiste

Dane Baptiste was well received by the Lyric audience in a set as colourful and varied as his bright orange tracksuit top.

Slim

Headliner Slim also focused on relationships but from the perspective of being a parent to 6 (I think) grown up children and the primary carer for his ageing father. It’s the detail you get that brings out the funny with Slim, for instance when he bemoans having to attend terrible school panto’s and sitting on those long benches they have in schools. He’d not realised how low to the ground they are until sitting on them as a grown man.

Slim

I loved the self-depracating jokes about fathers and mothers and parental capabilities. The anecdote about how a mother could happily take a group of 9 children out for the day – including some she didn’t know – and be guaranteed to return with all 9 children; whereas in the same situation Slim couldn’t be so sure the outcome would be the same!

The tales of looking after his old man were particularly amusing and poignant at the same time. His father’s a diabetic who enjoys 6 cups of tea per day .. often with 3 sugars and condensed milk to add a ‘lickle’ sweetness to it! So he’s not exactly helping himself by that or by not telling the truth to his GP re his sugar intake. It’s fairly unusual to hear of a son taking such responsibility and it was a measure of the responsibility he takes, love he has for his father, that he abandoned gigs whilst up in Dublin to return home when he heard his father was in hospital.

The ever popular Slim provided a great finale to a very good show.

Links:

For The Culture – For The Culture
Lyric Hammersmith Auction 4 – 27 March 2024
What is the Midlands Black Country and How Did it Get Its Name? – Richard Franks 09/10/2009
Diabetes UK Information
Aurie Styla’s Green Agenda – Tiemo Talk of the Town review – 03/04/2022
* Romans 1:26-27 NIV: “… Because of this, God gave them over to shameful lusts. Even their women exchanged natural sexual relations for unnatural ones.”

Not sure if this was put up in the Lyric Hammersmith in honour of Aurie Styla aka Aurie Green, but it was clear from the laughter, that the audience loved Aurie’s energetic interaction with them (maybe not so much love though from those in the front rows)!

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Posted in Arts and Culture, Comedy Reviews | Tagged aurie styla, dana alexander, darren harriott, for the comedy, for the culture, lyric auction, Nicholai La Barrie, sharon wanjohi, Slim | 1 Comment

This Might Not be It Review, Bush Theatre: Keep CAMHS and Carry On as This Might Not Be It

Posted on March 4, 2024 by Tiemo Talk

This Might Not Be It

Review Date: 1 March 2024
Venue: Bush Theatre, London W12
Star Rating: *****
Writer: Sophia Chetin-Leuner
Director: Ed Madden
Cast: Denzel Baidoo (Jay), Debra Baker (Angela) & Dolly Webb (Beth)

The show runs from 30 January 2024 – 7 March 2024

Is a broken NHS a metaphor for a broken Britain? Sophia Chetin-Leuner’s ‘This Might not Be It’ turns the spotlight on the NHS’s Child and Adult Mental Health Services (CAMHS).

Arriving in the Bush Theatre Holloway Studio I suspect many of the office workers and NHS staff in the audience will feel a sense of deja vu perhaps having left a day’s work in the office, only to enter another office. So intimate is the stage and audience setting, you feel as if you’re literally eves dropping on people at work. The setting is fascinating – whilst a typical office in many respects, you notice the cup (filthy – typical old office vibe!), bin and post it notes, what is less typical is the fact that they are fixed horizontally on the side of the rear wall defying gravity!!

The two main characters are Angela (Debra Baker) and Jay (Denzel Baidoo). Angela is the long serving (30+ years) CAMHS Office manager/line manager of 20 year old temp, Jay, who’s studying to be an Occupational Therapist (OT) and is new to working in CAMHS. Battle lines are drawn early on as Jay’s youthful enthusiasm and ideas to improve office and service efficiency jar with Angela, who’s seen it all before and has no interest in and cannot see the point of changing the status quo. The jarring leads to verbal sparring, giving the play its sparky vivacity and point of conflict. Based on the script and quality of acting you have a genuine interest in the characters and how this story will pan out.

Angela (Debra Blake) and Jay (Denzel Baidoo)

Over the course of 90 minutes we learn a lot about them. The 90 minutes is quite ironic for unrelated but unusual, co-incidental reasons, which I shall return to later.

One source of tension is the old fashioned paper filing system used in the CAMHS office. It’s difficult for Jay to find patient files as their doesn’t appear to be a logical filing system in place. Files are simply piled in boxes or on top of filing cabinets. Jay offers to introduce an on-line filing system. It seemed a perfectly reasonable suggestion but Angela doesn’t want to know. She’s often quite patronising in her attitude towards Jay, utterly dismissive of his ideas and idealism.

Over time however, for a number of reasons, her attitude begins to soften and she warms to him, treating him more respectively as a colleague who has every right to be there. In a way that to me wasn’t a NHS specific scenario and is one I and am sure many younger workers will have experienced in other office/non-office working environments. Namely, the age old tension between youth and wisdom; sticking to custom and practice versus being open to new, modern ways of doing things.

We’re now in the realms of diversity and equality – interestingly enough on the night I saw this literally just over 2 hours before the show started the Prime Minister Rishi Sunak delivered an address to the nation via the famous No 10 lecturn on Downing Street. It was about extremism, diversity and getting along with one another in spite of differing views, faiths and political and religious beliefs.

In this play that diversity was well represented in terms of age and experience with Angela and Jay, plus racial origins (White and Black). The racial angle was not centre stage in the story – aside from the odd moments, for instance, when Jay was playing his hip-hop and rap music one day which wasn’t quite to Angela’s taste! Fortunately that was at a time when she wasn’t being quite so hostile too him. Otherwise I’m sure sparks would have flown!

Jay (Denzel Baidoo)

Having worked in the NHS I think the filing system issue is a microcosm of issues within the system – the old system representing NHS inertia, slowness to change and embrace modern methodology and take advantage of economies of scale and it’s economic purchasing clout nationally. We later find out the more micro level, personal reason for Angela keeping things the way they are, but whilst understandable ‘the system’ allowed that to happen unchecked and unchallenged.

We hear a number of harrowing mental health calls in the play and witness the 17 year old character Beth (Dolly Webb’s) interaction with the service as she waits to be seen in the CAMHS office. Her role is quite pivotal in the story – not only the system which let her down in its ability to provide seamless, sensible and logical continuity of care between being part of the ‘child’ part of CAMHS versus transitioning to the ‘adult’ part of the service as she approached her 18^th birthday.

Jay was cognisant of this and as a trainee OT was keen to help her and others out in any way he could. This lead to boundary related issues which, at 20, he was clearly not sufficiently versed in.

Beth (Dolly Webb)

There was a particularly harrowing call from a Michael Hayden that really heightened tensions between Angela and Jay, who felt he could handle the call, whilst Angela wanted to intervene and take over and handle in her “customised, NHS system way.” This was but one example of the tough, brutal world of CAMHS.

We see examples of week-end working – people going over and above to deliver a service, recognising the care NHS staff have for their patients and services they run.

In spite of all this seriousness there was plenty of good humour throughout the play, especially as Angela and Jay warmed a little towards one another. There were some nice surprises in terms of Angela’s background. Not only that, there’s a good deal of unexpected pathos as the principal characters open up about their private lives. Those moments were incredibly moving and game changing in terms of the relationship between them.

There is a point where Jay cites the title of the play to Angela saying, “this might not be it.” That title can be interpreted in multiple ways. Is this all there is to life (re Angela’s 35 years in the NHS)? Could she not have developed another career within or outside the NHS? Is there another way of doing things (Jay’s perspective)? Is becoming an OT the right career for Jay? Is this the right way to run CAMHS/the NHS? Is there more to life than this – working, caring responsibilities people have both personally and professionally?

That links with another prescient line in the play when Angela tells Jay, “People over 40 never change.” That’s a valid point, although I’m sure some will disagree with it. One could argue that applies to the NHS. It’s now in its 76^th year but is it really changing, sufficiently enough, with the times? I would argue not as the model of it still dates back to the 1948 principles upon which it was founded, but I would argue that the funding model for it and service provided has not kept pace with times and until that is addressed, taking on board, as Jay might suggest, the best ideas of youth as well as from other countries. I can think of no other country that provides an NHS service in the way the UK does. That should tell us something.

This Might Not Be It is a tremendous play that.

This Might Not Be It is a fabulous, funny and thought provoking story that raises so many fascinating, topical questions about our beloved NHS which is in need of some much needed TLC and transformation.

Jay and Angela

The play last for 90 minutes (the same length of time as a football match .. well it used to be before they started adding on so many extra minutes to matches (that no one asked for) which is massively ironic as literally the night before this I was watching Jay (Denzel Baidoo) play Arsenal and England Striker Bukayo Saka in the smash hit play ‘Dear England’ as part of National Theatre Live at the Curzon cinema. That also was a fantastic play about the development of another once failing institution that has made significant and successful changes to move with the times and work achieving long overdue success and glory days of a bygone era. I didn’t realise it was the same actor until looking at the programme after the show. In a way, that’s either a case of me not paying sufficient attention and/or more likely a credit to his superb performances in both shows that it wasn’t clear it was the same actor – admittedly one was in a suit, another in a football strip so maybe that was to be expected!

Just like Dear England ‘This Might Not Be It’ also hit the back of the net and was a sure fire winner. That much was evident for months with its run being sold out and extended to 7 March 2024. Let’s hope it’s success with audiences means ‘this might not be it’ for this show and it returns to the stage once more.

Tickets – This Might Not Be It – Bush Theatre. 30 January 2024 – 7 March 2024.

Links:

Dear England – Dear England From Also Ran’s To World Beaters (Nearly)– 19 January 2024
For Black Boys, Six Black Men, Thrilling Audiences Live At The Apollo – Review 19 April 2023

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Posted in Arts and Culture, Health and well being, Theatre reviews | Tagged debra blake, denzel baidoo, dolly webb, ed madden, sophia chetin leuner, this might not be it | 6 Comments

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