The Other Palace, Victoria, London

The Other Palace started life as St James Theatre in 2012 when it was the first newly built theatre in Central London for over 30 years. It was bought by Andrew Lloyd Webber’s, Really Useful Group, in 2017 and has been re-branded and it intended as a place to develop new musicals. Bill Kenwright bought it in 2021.

The first show was  “The Wild Party” which was an auspicious start . This was my review of it. The Wild Party, The Other Palace, Victoria, London.  Later in the year The National Youth Music Theatre did “Sunday in the Park with George”. Other notable shows include “La Strada”, the brilliant “Eugenius!” and the Bill Kenwright produced “Heathers” and “Be More Chill”.

The complex itself, is a space containing two theatres, a restaurant upstairs and a ground floor bar. The building is glass fronted on the ground and first floor making the entrance, bar and restaurant feel bright and airy. The main theatre is relatively small, with around 300 capacity, nicely laid out, with every seat giving a good view of the stage. The studio is quite intimate, capacity around 100, it was laid out as a cabaret bar, but seating arrangements could be flexible. The cabaret tables and chairs worked perfectly for Stephen Sondheim’s “Company”, the show I saw there.

The upstairs restaurant, is modern and light. The setting is lovely. It has been re-branded as The Other Naughty Piglet, run by the people who own Naughty Piglets, in Brixton. The food is good and the menu is quirky.

The bar is set slightly lower than ground level, it catches the light well and it is a comfortable place to chat. It’s not huge, though, and does get crowded during the interval, this is a bar where it is definitely worth pre-ordering your interval drinks. The house white and house rose were both dry and good quality. They have a wide selection of gins too, recently also having had a re-brand as the “The Other Gin Palace”.

Bill Kenwright may have bought this because of the success of his two shows here. I believe that he has made a shrewd buy in this handily located theatre. It is  very close to Victoria Station and right across the road from Buckingham Palace.

I love the idea of it being a place to refine new work and I wish them every success in their endeavour.

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Joe Allen, Burleigh St, Covent Garden

Joe Allen has been in London since 1977. I first went there in about 1979 and it has been, on and off, one of my favourite restaurants in town ever since then. When I heard that the building it was in, had been bought and that it would be moving, I was disappointed and worried. They found new premises very close to the old venue, and they reopened in 2018. COVID restrictions hit London soon after and last week was the first time that I had managed to go since the move.

The new Joe Allen is almost the same as the old Joe Allen and that is a very good thing. The atmosphere is still intimate, they turn the lack of natural light into a positive. White tablecloths and theatre posters offset the darker decoration. The music is showtunes and old songs but at a low level so as not to interrupt conversation. The service is really good, attentive without being intrusive, I have to say that is one thing that has improved since the 1980s.

The menu has changed a little, while I was sad to see that the black bean soup is no longer on, there are equally interesting things on there to replace it. The type of food that it does remains the same – unpretentious, comfort food done with style. The menu is short but varied, classic dishes done well. The restaurant caters to people attending the nearby theatres and gets busy both before the shows and after the curtains fall, so if you want to eat late, you should book to ensure you get a table. The cocktails are good, and the wine list has a reasonable selection. It is also pretty good value for its position right between the Strand and Covent Garden. We had a lovely meal, and I fully intend to return.

The Sex Party, Menier Chocolate Factory

This is a story about a suburban sex party, set in a middle-class house in Islington. The play is set in the kitchen, all the libidinous stuff takes place off stage, in the lounge and we see the cast as they arrive and when they are taking a break from the action (as it were). I probably went with the wrong frame of mind; I was expecting a comedy or a farce. It does have some jokes (not enough) and some of the characters are mildly funny, but it certainly not a comedy.

The first act has a different tone to the second half. The first is lighter and I guess this is to introduce the characters, but just before curtains falls for the interval, a woman arrives and as soon as she heads off to the bathroom, there is hushed discussion as to whether or not she is trans. The second act is about whether she is, and how everyone feels about it.

The mood is darker, the dialogue is deeper, and suddenly we are in more confrontational territory. Now it is not a play about sex, but about gender, identity, misogyny and even racism. The concept is current, it is surely an issue of our time, but I felt the author wasn’t clear enough in his own head where he stood on the matter, to give his characters well-formed opinions. I think the time is right for a play that covers the boundaries between all these subjects, but this play’s characters did not present a broad enough spectrum of views to provide a good balance. I don’t wish to be unfair to the show, it is a good idea and I enjoyed it up to a point, but for my taste, the comedy parts weren’t quite funny enough and the debates were more shouting matches than cohesive arguments.

Having said that, the cast is strong, it is not often that you get an Oscar winner in a fringe play. Timothy Hutton was good, given his underwritten part. Molly Osborne was wry and likeable as Hetty, John Hopkins and Will Barton delivered their funny self-deprecating lines well. All the actors were good, and the set was done with a great deal of attention to detail. I really like the Menier Chocolate Factory as a theatre and it’s good to have it back presenting plays again.

Jeff Wayne’s War of the Worlds – The Immersive Experience

I attended amongst a group of 10 people, some of us remembered the original album fondly, a couple had read the H. G. Wells book, and a couple had no knowledge of the story. The entry point is a 19th Century tavern, where you can have a drink while you await your fellow travelers. The parties set off in groups of around 15. and you begin by sitting in a small cinema where hologram images set the scene for the story.

You are then brought to a planetarium, and each of you gets an individual telescope, through which you can study the solar system. Through these telescopes, you can see strange substances gathering on Mars’ surface. Your professor reassures you that “The chances of anything coming from Mars are a million to one…”and then we are off into the adventure. Before long, our professor is cinders, and we are led from pillar to post by various soldiers and civilians, helping us to avoid the destruction around us, caused by the Martians.

Eventually we arrive at a dock, where we are shown into boats and virtual reality headsets recreate our journey to London, in the hope of escaping the devastation. Virtual reality has come a long way in the last couple of years and these sections work fantastically well, helped by the rocking motion of the boats and the wind in our face at various points of the scene. Having escaped from the river, we are led to another tavern where we can have another drink (or not) while we wait for our rescuers to bring us on the next section of our adventure.

The second half of the show involves lots more VR, including hiding in a church confessional box and a trip in a hot air balloon. If you remember the album, you will recognize these parts of the storyline, as it does stick quite close to the story on the album. Before you know it, you are deposited back in the tavern for the obligatory photo opportunity and a debrief. The show lasts a bit over two hours and the time flew by. We all thoroughly enjoyed it, whether we were aware of the story or not. There were a few genuinely jumpy moments, and the music was good. I have to say that I was disappointed that they cut the Phil Lynott, Julie Covington duet (however, I was the only one of our party who remembered the track…) but the VR and how immersive it was really made up for it.

By the way, we weren’t allowed to take photos inside, so the ones included are stock ones that I found on the internet. If anyone would like to claim them or wish for attribution, please leave a note in the comments and I will remove or comply as you wish. The venue is Leadenhall Street, quite near to Bank Station, in the city. All in all, it was an excellent evening and Jeff Wayne’s War of the Worlds is a great addition to the list of things to do in London.

John Gabriel Borkman at the Bridge Theatre

This is Ibsen’s second to last play, written in 1896, but it felt as though it was a commentary on life, and public life, today. A pared back set and simple lighting allowed the words and the acting to do all the work. The writing is lovely, the characters are knowing, able to see others’ faults while managing to avoid seeing their own. It is quite a bleak play, in a bleak winter setting, but remarkable that they are all capable of finding hope in hopeless situations.

In the hands of a less talented director and actors, this could have been a tough watch, but Lia Williams, Simon Russell Beale and Claire Higgins make us care about the selfish, delusional, imperfect people in this play, and they can make us understand why they have made the poor life choices that they made.

It is a play about sibling rivalry, about self-delusion, and about how we use hindsight to justify past decisions. It is also about how difficult it is to learn from the mistakes of others – you can see the next generation heading exactly the same way as their parents. Yet, as throughout the play, there is the faintest sliver of hope at the end.

Don’t go if you are hoping for a light evening’s entertainment, although to be fair, there are many funny lines and light moments. Do go if you want an insight into our complex personalities and into the human condition. I am afraid that I have made this show sound difficult, but I left the theatre uplifted because, in every situation there is hope, and it is human nature to seek out that hope and grasp it. I felt that this play captured the beauty of a bright chink of light shining through the drawn curtains of a darkened room. Sorry about the hyperbole, but it is a great play and, I did really enjoy this production.

Hamlet, Sh!t-Faced Shakespeare, Leicester Square Theatre, London WC2

The Sh!t-Faced Shakespeare Company, now Magnificent Bastard Productions, have been bringing various Shakespeare plays to theatres around the UK for a number of years. It is an improv styled show where one of the cast has drunk one third of a bottle of spirits and a number of beers before taking to the stage. The comedy comes from the sober actors attempts to keep their drunken compatriot onstage and on track.

It is great fun to watch and it also looks like it is great fun to take part. Drunken Hamlet takes pleasure in his leeway to make things difficult for the rest of the cast, trying to push them off course and attempting to make them laugh. There is audience participation, in that a couple of audience members are chosen to call for the drunk actor to have another drink if they feel that he is sobering up. Also, Polonius is played by an audience member, this is a brave choice, given that his is the first death scene and the only people on stage are the audience member, the drunk actor and Gertrude, his mother.

It is a good introduction to Hamlet, because it zips through the simplified storyline in around an hour and a half. Drunken Hamlet forgets his lines surprisingly seldom – he makes a great fist of the “to be or not to be” soliloquy despite being made to drink while reciting it- and those parts where he does get lost he has the professionalism to give the audience a synopsis of the scene in modern language.

Hamlet, of all Shakespeare’s plays, is the one that is most often taken too seriously and it is often forgotten that these plays were written as mass entertainment, and that the performances as well as the audiences were raucous and bawdy. This version emphasises that element of the Bard and works very well on that level. I really enjoyed Sh!t-Faced Shakespeare’s Hamlet and I look forward to seeing others in their repertoire in future.

The First Modern Man, Hen & Chickens Theatre, London N1

Michel de Montaigne is an interesting figure, and this is a well written and beautifully delivered play about the 16th Century French essayist. Much like the essays of the man himself, it is not easy to define. It is not quite a biography because it really only touches incidentally on his life and times, it is an imagined hour long conversation with the man, where you are introduced to a selection of his ideas and preoccupations in a seemingly disordered manner.

However, this is where the cleverness of the writing comes in, the rambling way in which the conversation takes place, is very similar in composition to the way his essays were actually written, with detours, diversions and asides taking you around many different ideas before bringing you back to the original, titular point of the piece. In this play, it serves to capture what you could think of as the personality of de Montaigne.

The Hen & Chickens theatre is a good venue to see this play, because it is intimate enough to give the feeling of a personal conversation. Jonathan Hansler takes full advantage and engages members of the audience individually – he makes Michel de Montagne chatty and affable. The author, Michael Barry, and actor have worked together well, both obviously care for the man they are displaying onstage, and their combination of talents makes him a likeable figure full of interesting concepts, some deep and insightful, some weird, but all entertaining in a quirky and engaging way.

I particularly enjoyed this play, possibly helped by knowing a little of his work before I attended. The quality of the writing and the delivery of the words ensure that there is much to enjoy here whether you have heard of Michel de Montaigne or not. The First Modern Man has that elusive and winning blend, it is a play that manages to be both enjoyable and informative. Recommended.

 

The 10 Best Shows to book in London this December.

1. Romeo & Juliet. Royal Shakespeare Company at The Barbican. A contemporary version of the Shakespeare classic.
2. Harry Potter and the Cursed Child. The Palace Theatre. A really good story and brilliant special effects.
3. Les Miserables. Queen’s Theatre, Shaftsbury Avenue. This predates The London Lark, but it has been running so long because it is very good!
4. Don Quixote. The Garrick Theatre. The Christmas show for people who don’t do panto!
5. School of Rock. Gillian Lynne Theatre, Drury Lane. Very enjoyable musical, a bit corny but great fun.
6. Summer and Smoke. Duke of York’s Theatre, St Martin’s Lane. Worth seeing for Patsy Ferran’s performance alone. Wonderful use of music at dramatic moments.
7. Macbeth. Royal Shakespeare Company at The Barbican. Niamh Cusack and Christopher Ecclestone are fantastic in this.
8. Follies. The National Theatre. Won the Olivier award for best musical revival last year, returning early next year and booking now. Sondheim in his prime, beautifully done.
9. The Play that goes Wrong. The Duchess Theatre, Covent Garden. This does exactly what it says on the tin. Very, very fanny! (Ha,Ha!)
10. Everybody’s Talking About Jamie. The Apollo, Shaftsbury Avenue. Great Songs and a lovely uplifting story.

I have restricted the list to those shows that I have seen myself. There are a number of shows that I am sure will be wonderful but that I have not yet seen. Hamilton, which is on at the Victoria Palace appears to be universally loved. I am really looking forward to seeing Company at The Geilgud Theatre. The Inheritance at The Noel Coward Theatre looks like it will be fantastic too.

This list is obviously based on personal taste too. People who love Bat Out Of Hell, seem to really adore it and return regularly, although I have to say that I found the new songs less good than the originals and the story is poor. I do have to admit, though that some of the special effects are spectacular.

A Very, Very, Very Dark Matter might appeal, if you like your theatre to be a bit more off kilter. It is brim full of weird and unusual ideas, but it is not an easy watch and the realisation is not as polished as Martin McDonagh’s usual fare. You also need to be quick, as it is due to finish in early January.

So, if you are thinking of booking theatre tickets for London anytime this month, there is a show for you somewhere in this list. Enjoy!

 

Murder for Two, The Other Palace, London SW1

The Studio at The Other Palace is an intimate theatre with a small stage and seating for about a hundred people. This is the perfect setting for this show, which is an affectionate homage to black and white murder mystery movies and to camp musical theatre. It is written by an American pair, Joe Kinosian and Kellen Blair, who clearly have a love for both of the genres that they are sending up.

This is a two handed play, with Ed MacArthur playing the investigating officer and Jeremy Legat playing everybody else, apart from the moment when an audience member is brought onstage to play the death throes of a poisoned murder victim. It takes a few minutes to adjust to the quick changes between all the different characters, but soon with only a single prop and a shift in demeanour, Jeremy Legat has us following his transitions through the roles at breakneck speed.

Murder for Two is a madcap musical. It has eleven songs. Usually one of the pair plays the piano while the other sings and dances but there are duets or songs with multiple parts. The songs that have the officer interviewing three members of a boys choir, and an arguing married couple are particularly inventive. The lyrics in the songs are clever. “A Friend Like You” which opens the second act is particularly good.

The familiar elements of the story arc are magnified and made into a virtue, so that we can derive pleasure from knowing what is about to happen and laugh when it does. There are very funny lines in the dialogue, but the main comedy comes from the character portrayal. The intimacy of the theatre adds to the warmth of the performances, Ed MacArthur and Jeremy Legat have charisma and there was a personal connection with the audience.

Murder For Two is pure light entertainment, every trope from film noir and musical theatre has been thrown in the mix. The only thing that could have made it camper would have been the addition of a butler in a feather boa. It is on at The Studio of The Other Palace until 18 January. It is a witty and likeable presentation, a warm hearted murder mystery musical.

Summer and Smoke, Duke of York’s Theatre, St Martin’s Lane, London WC2

Summer and Smoke had a successful run at the Almeida theatre earlier in the year. The reviews at the time were ecstatic but tickets were impossible to get, so it was great news to hear that it had been given a West End transfer. When it was first produced, in 1948, it was the follow up to “A Streetcar Named Desire” but it did not match that play’s success. There have been revivals in the intervening years, but the only successful one has been the off Broadway version, with Geraldine Page as Alma, that was eventually made into the film with Laurence Harvey as John. Geraldine Page received an Oscar nomination for that part.

The set is a bare brick wall with seven pianos set in a semi circle facing it. These are played at the start, finish and at dramatic moments through the play. The rest of the stage is basically empty, save a few chairs brought on and removed as they are needed. The setting is the American deep south in the early 20th Century, classic Tennessee Williams territory. The story is too, a tale of unrequited love struggling against unbridled lust, set in a small American town in the sweltering heat of summer’s sultry climate.

Director, Rebecca Frecknall, has taken the decision to make this production revolve totally around Alma Winemiller. She is almost always on stage and on the rare occasions when she is not central, we are thinking about how this will affect her state of mind. This is a bold directing decision, but perfectly vindicated by Patsy Ferran’s performance as Alma. She is phenomenal, it is a career defining role and she drags us through every high and low. One of the toughest things for an actor to do is bring the audience with them when they have a life changing epiphany which totally reverses their world view, Patsy Ferran does this remarkably well, and if she does not win awards for her acting in this play, then I cannot wait to see the performance that beats it.

The rest of the cast are excellent too and provide brilliant support. There are a couple of moments where music is used to heighten the drama. Both of these are chillingly good. Anjana Vasan has a beautiful blues voice, when she sings in the casino. The slow motion sequence during the shooting, which I think used a Portishead track, has an ethereal, poetic quality that raises the production to a more abstract, surreal vision than we are used to seeing in a Tennessee Williams play, and this worked very well.

I enjoyed this production, it was brave enough to approach Tennessee Williams in a more lyrical manner than usual, the added musical dimension, although lightly used was very effective and it will endure in the memory for the amazing performance of Patsy Ferran in the leading role.