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Provenance takes a look inside the world of a reclusive artist Patrick (Saul Marron) who lives in a small and cluttered flat surrounded by his abstract paintings. Which certainly brightens up the wall of the stage in Baron's Court Theatre.
Ellie (Martha Lyn) bursts into his flat thinking she has found an easy mentorship and believes she might finally be on her way in her career. However, she doesn't know how to talk to Patrick and the pair gets into heated banter, which at times can be uncomfortable.
Ellie's had a tough life so far and is desperate to try and change things. However, the chip on her shoulder needs to be knocked off before she will get to where she wants to be. Although this will come with maturity and time and a few more hard knocks along the way. If you have anything to do with twenty-something young ladies there's plenty in Ellie's character that's recognisable.
Her outlook on life challenges Patrick's own life, where being shut away in his flat and artwork have become comfortable but he is not necessarily happy. I would love to have found out a bit more about his past and the catalyst moment that would have led him to be living almost in isolation now.
As mentioned in the beginning the stage is set as an artist studio with a collection of abstract paintings in bright colours, which add a nice feel to the dark theatre space at Barons Court Theatre. The touch of PULP playing on the stereo at the same time they headlined Glastonbury was a cool coincidence.
I felt there are still some developments needed in the characters and possibly a bit more "sass" from Ellie to provoke more from Patrick, twenty-somethings have a knack of doing that. I feel there is more to learn about both of them. After all, he doesn't seem a likely candidate to have become a mentor.
For more information about Provenance and future productions at Barons Court Theatre. Although Provenance has now finished the run there are plans to put it on somewhere else in the future.
The Boy with Wings based on the book by Sir Lenny Henry has so much potential to fly. The storyline is based around the twelve-year-old boy Tunde (Adiel Boboye) who is being brought up by his overprotective Mum, Ruth played by Mia Jerome.
Tunde is struggling with sleeping and back ache (which we later realise are his wings cutting through). He does find his Mum's behaviour strange as she rarely lets him go outside and encourages him to play computer games. All becomes clear in Act Two.
His best friends challenge him to a street running game that Dev (Samir Mahat) completed the day before. Kylie (Millie Elkins-Green) follows their movements by a camera and an app on her tablet which the audience watches on the screen at the back of the stage. What happens during Tunde's turn to complete the course takes them all by surprise and leaves Tunde traumatised and confused.
Meanwhile, we meet the cat Juba (Jessica Murrain) whose landed on earth in search of the person to "make peace" between the cat and bird planets! Things are not as they appear as we discover when Tunde's father Aaven (Stephen Boyce) flies onto the scene.
When the cast is in outer space the adaptation could have lit up the auditorium with stars and lighting to bring the audience into the story. A simple effect that would bring a touch of theatre magic into the play while transporting everyone into the galaxy.
The cast of six work well together onstage bringing the children's book to life. However, children are harsh critics and the lack of special effects could potentially lose some of their attention throughout the play. It's a pity as the storyline has so much room to allow it to be a visual explosion of colours and effects on stage as the Polka Theatre space has the room to allow it.
Moving Parts Theatre Company presents their touring production of Vanity Fair by William Makepeace Thackeray originally written and published as a monthly serial. Watching how the story unfolds I can see how the story is split up into serial sections.
Performed in the Hampstead Garden of the Romantic Poet John Keats' House. The garden has a simple layout and offers a slice of tranquility in the leafy road of Hampstead.
The lives of Rebecca Sharp (Katrina Michaels) and Amelia Sedley (Anna Blackburn) along with their friends, family and acquaintances they meet along the way during and after the Napoleonic Wars. Rebecca lives on her wits and will do anything she has to do to climb the social ladder.
Amelia meets the man she chooses to marry, who isn't worthy of her love and devotion. The story of the two ladies living within the pages of Vanity Fair is told throughout by the cast of nine travelling circus actors. Who switches between the stories' characters and their travelling fairground roles.
I thought the range of characters played by Tom Beattie was engaging. From the travelling circus jester in the beginning and his social interaction. To the more prestigious role of William Dobbin. Each character is different and his stage presence is strong.
Anaïs Tran Ngoc accompanying the cast as part of the ensemble and the musician, every travelling fairground would have musicians to drum up the fairground atmosphere and entertain the crowds along the way.
Simona Hughes directs the cast bringing the story of Vanity Fair to life with charm and warmth. Provoking empathy at times as the fate of the two ladies plays out. However, each venue will have different challenges as the production company tours parts of the UK just like the travelling fairgrounds would have done at that time.
Although the English summer weather offered a lovely evening for sitting outside to watch the performance the cast had other distractions to contend with. Especially the number of people walking past the house frequently. A couple of times the noise level was loud and the cast didn't falter once or appear to be distracted by this, which impressed me.
For more information about Moving Parts Theatre Company and their touring production of Vanity Fair please visit the links below. One piece of advice if you park in Hampstead Heath East car park the gates are locked at 9pm.
"Gary" (a member of the audience) is a big Hollywood director and money is no object. He has come to watch the play tonight to see if he thinks the play is worth funding and producing it into a film. The cast of Four are desperate and need his financial backing to help them turn the play into a film.
The movie is Spy Movie: The Play! Jane Blonde (Jo Hartland) and scriptwriter Ian Flemish (Jamie Watterson) are on a mission to stop Evil (Katy Daghorn) and Mr.Hugs (Matthew Howell) from taking over the world.
With Flemish's script stolen the pair need to get it back. Howell and Daghorn play all the other characters Bond and Flemish meet along the way on their mission, the range is impressive along the amount of dialogue they have to remember. From what I can tell by the flow of the interaction nobody faltered once.
The performance contains a host of scenes many will recognise from the Bond films from downhill skiing chases, a helicopter ride, a train chase across Europe and a submarine scene to name but a few.
For fans of James Bond and the like this comedy spoof has a host of references that they would instantly recognise. As someone who has only seen one James Bond movie many of these went over my head. However, that didn't stop me from following the storyline and enjoying the full-on action performance.
Spy Movie: The Play! Will be continuing onto the Edinburgh Fringe after the current tour finishes on 18th July. The touring production will be edited to fit into the Fringe performance requirements, It's a solid Fringe production which is bound to do very well as it's a family-friendly show. Details are available below.
For more information about Spy Movie:The Play and future productions at The Theatre Royal Winchester please use the link below.
One thing you can guarantee when you go and watch SHOWSTOPPER! The Improvised Musical is you will be watching a brand new performance that nobody has ever seen before, no matter how many times they go. Every act, song and movement is improvised on the spot.
The only scripted part of the show as far as I can see is the telephone dialogue between the evening's musical writer who was Sean McCann in this performance and the unknown producer whom the audience never sees.
Showstoppers have twenty cast members in the company. This performance we saw five of the highly accomplished showstoppers Improvised Musical cast take to the stage.
They had quite a task as they worked together to deliver the performance of "F@#k I Forgot" the title called out by an audience member who had forgotten what they were about to suggest. It wasn't the easiest of subjects to tackle yet they managed it very well. Although I did get a bit lost at times, that wasn't down to them.
The cast is accompanied by three members of the Showstoppers band, which consists of ten members. They have to keep up with the Improvised team throughout the performance and never faltered once. It's a highly polished team effort and you can see the work and practice that have been required to get to where they are now.
The performance is tightly scripted into two fifty-minute acts. The cast never stops throughout that time although I think their dialogue and directions at certain points take them completely by surprise too.
Although there's audience participation required for the initial development process at the beginning of the show and by Instagram to start the second act, nobody from the audience is called onto the stage.
Showstoppers began in 2008 at the Edinburgh Fringe and have gone from strength to strength since their early days. There's also a Showstoppers Kids Show version and the company offer a range of event performances too.
For more information about SHOWSTOPPER! The Improvised Musical and their range of corporate and event availability please use the links below.
The tragedy Medea was written by the ancient Greek playwright Euripides over 2000 years ago is set sometime after Jason, of Argonauts fame, returned home married to our protagonist. It tells the story of Medea, an immigrant, in a country where her status is defined by her husband, who is discarded when he wishes to marry the king's daughter.
Satoshi Miyagi, frames the story as a play-within-a-play taking place in a café during Japan's Meiji period (1868-1912). Nine women slowly enter with a veil over their head carrying a photograph of themselves and stand waiting for the arrival of well-dressed business men. They enter raucously and, with a copy of the play, choose five female performers to enact the tragedy for their entertainment. The remaining women leave back stage.
The company is known for its performance style of separating each role into what it calls a "speaker" and a "mover." The male speakers use a bunraku-style chanting technique, to give voice to the role while the female movers engage in stylistic movement, inspired by Japanese forms like bunraku puppetry and kabuki dance ningyo-buri. This technique highlights the ways in which women's voices have been controlled or suppressed in patriarchal societies.
Hiroko Tanakawa's music, performed live in the style of a kabuki orchestra, enhances every moment, from the foreboding drums signalling vengeance to the sombre melodies reflecting loss.
The action, nearly 85 minutes, is a direct Japanese translation of the play, and is performed in Japanese with English surtitles portrayed on two flat screen monitors at the edge of the stage and a large screen above the action. Unfortunately, the font on the monitors although bright, was not large enough and the screen was partially obscured by the large, towering bookcase.
However, this doesn't detract from what is a visual spectacle with dramatic period costumes and controlled choreography.
Medea's struggle, reflecting a universal theme of a silenced woman driven to extremes, deeply resonates in this Japanese setting.
Friends Kamran (Suraj Shah) and James (Jordan Tweddle) are about to be challenged by a stranger who will potentially make a life-changing impact on their friendship, especially James.
He can potentially make a million pounds if he can locate a piece of paper that's over one hundred years old. However, his Mother has died and he's estranged from the rest of her family although they all live locally, and when required he appears to know where to find them although they haven't seen each other since James was six!
There's a lot of action and a vast pub crawl during the play, which takes place over a couple of hours, suspend your disbelief as it's not achievable. It's quite a lot to keep up with. Tweddle remains in character throughout the play. With nine other characters are introduced to the audience on the night all of whom are played by Shah. I secretly wanted to see him on drag at the end. If you watch the play you will understand why.
There's a strong rapport on stage between Shah and Tweddle and they both relay the desperate feelings of fear and being lost in a world they are trying to navigate and fit into. A theme many of us can relate to.
There were points during the play that their regional dialect left me a bit lost and after some of the descriptions about Cumbria, it hasn't left me in a rush to want to visit the area. However, I expect it's picturesque in places and has similar problems to all parts of the country and in reality is worth visiting.
"Alas poor Yorick I knew him well". Most people will recognise this quote from Hamlet with the protagonist holding a scull of his late court jester in the graveyard scene. The basis of George Rennie's on hour comedy is the supposition that Yoric is not dead or if he were how he would react as a ghost.
The scene is set, to the rear are a series of vases with flowers and lit candles, as if a memorial. Papers are scattered on the floor.
The show begins with some audience participation, with an audience member reading from one of the pieces of paper. Summoned from the dead, Yorick sets out to revive theatrical joy back to the Danish court and rekindle his lost love of performance unintentionally causing chaos along the way.
Yorick is a jester without the audience he desires, hamstrung by his death as a ghost, he attempts to entertain the audience but soon discovers the world of Elsinore beyond the stage. He embarks on a journey to understand what really happened in Elsinore all those years ago, leading him to witness how the court has changed. He interacts with Hamlet, who appears unusually old and sombre (apparently, he's normally a bundle of laughs). At this point, the monologue becomes darker as Yorick gradually understands that the King is not the only one who has died.
Rennie is obviously a talented and confident performer who commands the stage and easily engages with the audience. The dialogue is poetic, and the music and singing are stunning.
The idea of telling minor characters' stories from the background of Shakespeare's plays is nothing new, but Rennie has brought a though provoking insight into Yoric's personality.
One of the great privileges of reviewing theatre productions has been spending the past eight years reviewing the Blue Apple Theatre productions. I have watched many of the performers over the years take on a variety of roles. My biggest observation is how as a group they have grown in confidence.
Their latest production Sherlock Holmes and the Thief of Antiquity is a completely different production than previous years. The staging is less and the focus is more centred on the actors and every single one stepped up to the job and performed with their hearts and souls.
Sam Dace in the role of Sherlock Holmes played the famous detective with style. Taking on board the mind of Holmes who logically solved crimes by unraveling clues and riddles. Once Holmes explained how he reached the solution it appeared blindingly obvious.
Dr Watson the famous Dr who accompanied Holmes for many years was played by Tom Hatchett. Another strong performer who took to the role with ease. The rapport between the two of them onstage is strong and they were a perfect choice for the roles.
However, the special guest performing with Blue Apple was soloist Olumide Cole. At just 16 years old he commanded the stage and delivered his solo numbers perfectly. Hopefully, the company will see him back again in the future.
This year the absence on the stage of James Benfield was noticeable to me. However, there's a very good reason for this he was the co-director trainee for this production. Congratulations James what a fantastic opportunity to be part of this incredible supportive company and take your career to a new level.
Everyone on the stage deserves a special mention, but due to the number of cast members, this isn't possible. Each and everyone played their role and brought the Sherlock Holmes story to life. After all, Sherlock was neurodivergent too and knew what it was like to be different and learned to use his skills to his advantage. Just like all those who play their part in Blue Apple.
I have watched some of the actors start from walking onto the stage in previous years and just being part of the group to now speaking a few lines without too much prompting. These actors deserve to be very proud of themselves.
Much like Pete Townsend's windmill, the Mods unravel like street peacocks against the backdrop of the ocean. Their sharp suits, designed by Paul Smith, are a colourful explosion in the opening, moody atmosphere. Paris Fitzpatrick follows in the footsteps of Phil Daniels as the disaffected mod Jimmy. His fishtail parka glides around the stage in elegant bursts of kinetic energy. The speed of life-from soho night clubs to fights with rockers, and trips to Brighton - is beautifully choreographed by Paul Roberts through the clothes and movement.
Dan Baines as the Ace Face brings something of Sting from the 1979 film, directed by Franc Roddam, partly due to his closely cropped peroxide hair and raincoat which swoops, floats, and elevates the status of the top Mod. The Who's 1973 soundtrack is given a souped-up operatic boom by Pete Townends's wife, the musical director and orchestrator Rachel Fuller. During Love Reign O'er Me, Stuart Neil as the father, and Kate Tydman, as the mother allow a typically British domestic scene to burst into life. While the story is a celebration of youth culture in all its flaws, the movement, passion, and style of Jimmy's parents rages against the mediocrity of middle-age.
Jack Widdowson summons power and punches as the Godfather and bursts with swagger and attitude. He pulls off rock-star energy with panache and a multitude of memorable moves. The stage door scene with Jimmy is equally frantic, fusing his disappointment and anger at the world as well as the subculture that has become a lifeline. The Vespa does make a cameo appearance but I'd like to have seen more of the essential motor Mod motor vehicle. More of The Who's rock would also add some grit behind the fingernails to the orchestral arrangements. That said, this is a mesmerizing production and what it does well is Jimmy's brittle nature, especially as mental health issues are more at the forefront of our culture, not hidden as were in 1964. Fitzpatrick is a triumph in the role, the film's nihilistic and hopeless end is traded for something more redemptive in this spirited performance.
Sisters, Harriet and Regina Burke played by Laurel Marks and Gabrielle Nellis-Pain are funeral directors whose business isn't blooming quite as it should be and need a few more funerals to hold off bankruptcy.
Regina is in the process of getting a license for her new project "Jolly Gina's Gin Bar and Spa" an unusual business combination but one she has already spent way too much on and Harriet is furious as she checks the accounts.
Then add to the mix Malcolm (Gabriel Fogarty-Graveson) who Regina has hired unbeknown to Harriet. He appears to be clueless and doesn't have a clue what funeral directors do. However, his humour reminded me of Private Pike (Ian Lavender) from the 1960s and beyond comedy series Dad's Army. The mannerisms and comedy delivery had many similarities.
However, with two funerals booked in at once can the team pull it off with only one ordained clergy and an imposter trying to act like one? It's funny and entertaining trying to keep up with the proceedings. One funeral could help boost the new business and the other finish them!
The fourth member of the cast Molly-Rose Taylor deserves a special mention. Playing the rest of the characters in Grave Mistake. Of which there are at least five and all completely different, especially the quick changes between the two funeral clients whose services the sisters are trying to hold at once.
The casting is excellent and the four have a great onstage rapport pulling together the comedy with perfect timing and getting plenty of laughs from the audience.
Writers Toby Hampton and Matthew Ballantyne add a touch of madcap entertainment to the funeral business. Yes, the coffin they used on stage is genuine and was donated to the team by the local undertakers.
Although Grave Mistake has now finished I have no doubt it will return to the stage in the future.
Does anyone know exactly the right thing to say and do after someone loses a child? Friendships are tested and close relationship come to breaking point in the emotionally fuelled play Staying Alive.
Mary (Saskia Connolly) son has died and is attempting to navigate her way through the grieving process. Jack (Jonathan Buckingham) and his wife Jenn (Isabel Daly) try their hardest to.be there for Mary, dinners, invitations and a New Year gathering hopeful that the old "Mary" will come back to them.
However, grief and trauma change people and the person they once knew will be changed forever. They also have to learn with their grief alongside hers. It's complex and complicated as anyone who has navigated through grief will recognise.
Mary is simply Staying Alive long enough while she learns to live again in a world without her son and finds a new path to follow. How do you stop being a parent abruptly, without warning?
Her outlook on the world changes when she employs the builder Nathan (Christopher Llyod-James) whose strong Black Country roots and direct approach to life and conversations are exactly what she needs, even if Mary doesn't realise it immediately. Although it's unsure if Nathan is hiding a dark side to his character.
Director Olivia Charkrabory appears to have given the actors the space to feel their way through their roles in a touching and sometimes frustrating manner. Mary is often on the verge of tears through a range of underlying emotions which grief takes you by surprise at times.
The multifunctional stage design by Dina Benderra allowed the houses to split between Mary and Jack and Jenn's clinical minimalist home when the "wine warmer" was the conversational piece between guests. I thought it was an absolute waste of money, which I guess is the point of it being in the play to offer mundane conversation and deflect from the sadness and grief.
At just over two hours long there's some editing required as it felt "bulked out" unnecessarily in places and didn't have a bearing on the storyline.
The cast of four Neil Jennings, Wesley Griffith, Becky Bertram and Mitch Donaldson brings to the stage a range of characters as Detective Stuart Pinnock (Neil Jennings) leads the investigations in the play The Shoddy Detective and the Art of Deception.
The famous painting has gone missing during the auction at the Manor House. Lord and Lady Rayburn (Mitch Donaldson and Becky Bartram) have a house full of guests staying for the event. Which keeps their maid on her feet and the police busy with their questions.
Expect a few red herrings, possibly some plot twists and a few exaggerated truths along the way as the Detective and his sidekick Dusty Wills (Wesley Griffith) uncover more than simply a missing painting.
Most of the characters have hidden pasts and as you expect in a mystery play these become revealed. However, none of these I will divulge as I don't give away spoilers (of which there are loads).
Olivier award-winner Louie Whitemore's set and costume designer brings the essence of a manor house to the stage with a large wooden cladded reception room, an old-fashioned wooden radio that answers back along with an authentic fireplace.
The costumes follow the rank and status of the characters. From the tweed suit worn by Lord Rayburn to the black and white Maids outfit. Each character is easily identified. Oh and keep an eye out for the gardeners who don't appear to know what day it is and are very funny.
This is one detective mystery play I wouldn't hesitate to recommend. If it's coming to a theatre near you or you're going to the Edinburgh Fringe, put it on your "to watch" list and see who really stole the painting.
For more information about Shoddy Detective and the Art of Deception and future productions at The Theatre Royal Winchester please use the links below. The company will also be performing at The Edinburgh Fringe in August 2025.
In 1969 the first version of Joseph was published in its expanded version by Decca Records. The full format similar to the version we now see was first performed in 1975 at the Haymarket Theatre in Leicester and then travelled across to Broadway in 1982.
Joseph and the Amazing Technicolor Dreamcoat is currently on a countrywide tour wowing audiences along the way. Woking saw a full house on press night and the audience throughout the theatre stood for a standing ovation at the end.
The narrator in the current tour is the incredibly versatile andvtalented singer/actor Christina Bianco throughout the performance she takes on the role of several characters including Joseph's father.
Adam Filipe in the role of Joseph wears the Technicolor Dreamcoat with flair and pride. Twirling often allows the audience to admire the beautiful colours. He gives a brilliant performance as Joseph and has a strong stage presence.
The role of the Pharoah was performed by Joe McElderry who looked very at home as the Pharoah King and gave a fantastic performance.
Many of the main adult roles were performed by the children in the cast and were all very accomplished. The star of the show was the young female actor who played the Goat, she had the best one-liner of the entire show and delivered it with perfect timing. If you want to know what she said then it's a good reason to see the Musical.
Choreography has been led by Joann M.Hunter and from where I sat it was flawless. The costumes, props and jewellery by Robert Allsopp and Associates brought the magic of the Musical cast to life from the humble clothing worn by Joseph's brother to the sumptuous gold costume worn by the Pharoah. Oh and of course the main item of the musical "Technicolor Dreamcoat".
It's a good upbeat musical for the whole family although there are darker parts as anyone who knows the story would expect. Everything comes good in the end and the spirits of all the characters are raised for the finale.
Laguna Bay marks the 25th Anniversary of Giffords Circus productions. Set at the beach with ice cream, beach beauties and sunchairs. The acrobats and entertainers are back for another year to wow audiences once again.
This year's production saw the return of Tweedy whose been a popular performer with Giffords Circus for over twenty years. He created a plethora of mayhem throughout the evening. His performance can reach every audience member from the youngest to oldest.
Antonio and Connor Garcia certainly knew how to charm and wow the audience. The duo are part of the Garcia Brothers dynasty and are the ninth-generation circus performers. It's hardly surprising that the training begins when the performers are very young. To be this accomplished and confident in the circus ring there to have been years and hours of dedication and practice.
The evening is accompanied by singer Sofia Kherroubi and the band The Semitones. Many of the songs are recognisable from the 1950s.
There are a couple of horses and dogs appearing during the show. They look happy and unnerved by the audience and noise. With the amount of good treats they were given, there's a big incentive for them to enjoy their training and performing. There's nothing in this performance that's any different from dog agility training shows.
The highlight of the performance takes place in an aeroplane suspended from the ceiling. Pablo and Vickki leave the audience on the edge of their seats as they attempt to take the sky. The timing is impeccable with trap doors and loose wires making the pair's life almost impossible to be inside the plane.
Giffords Circus has a vast amount of people involved with the production from the cast, Art department, circus sauce team etc. Although it's too many to mention individually, I would like to say congratulations to everyone involved in the 25th Anniversary production.
If you are considering taking your children to watch Giffords Circus I can safely say they will have a fantastic time if the children in the audience's responses were anything to go by.
Louisa May Alcock's book Little Women is inspired by her experiences growing up. It follows the lives of 4 sisters experiencing genteel poverty while their father is away serving as an army chaplain during the American Civil War.
Writer Anne-Marie Casey has managed to maintain that wholesome, unpretentious, sense of family that features in the book. The show opens with the sound of gunfire in the background and the actors enter to the haunting sound of The Battle Hymn of America. Music plays a large part of the soundtrack enhancing the mood and the sight of the sisters gathered around the pianola to sing carols in four-part harmony was particularly charming
A twinkling Christmas tree and simple furniture layout front of stage is set against a background of tall tree trunks allowing seamless transitions between scenes inside and outside the house.
Performances across the board were strong with the sisters bouncing off each other. Grace Malony played strong willed, protagonist tomboy Jo with a great deal of energy, and Amy (Imogen Elliott) was suitable dislikeable as the spoilt vain sister. Responsible and kind Meg (Jade Kennedy) was rather overshadowed by her more vigorous sisters but in my opinion, it was Catherine Chalk who shone as gentle Beth. Cillian Lenaghan was genial as new neighbour Laurie and believable as a rejected lover. Brooke and Bhaer (Jack Ashton) provided a secondary love interest for Beth and Jo although it was a shame the costumes couldn't be less similar.
Belinda Lang as Aunt March an outspoken matron with an attractive Katherine Hepburn, accent & Honeysuckle Weeks was calm and controlled as the moral role model to her daughters.
This is a gentle evening's entertainment, true to the much-loved original however it's not without fault. The first half lacked pace. Disagreements in the script were over loud, and the tantrums were melodramatic and unbelievable.
Whether you're a fan of Alcott's novel or new to it, this adaptation offers nostalgia and is thoroughly entertaining, moving, and engaging.
Tales from a Country Pub is told from Chris Sainton-Clark's perspective as a bartender across the Uk. Although select bistros and sticky floored public bars have all featured, he has a particular affection for his own local country pub in Norfolk.
Armed with a guitar, microphone and a lot of sarcasm, he sings about the characters he has met during his time behind the bar.
The themes and archetypes will be familiar to most of us.
Dodgy boozers, lotharios, lost young men, bad dates and certifiable oversharers, all feature in his 11 or so songs. There are the New Zealanders who he met on a trip down under who were far too polite to add to his repertoire, Barry with his 3 teeth and 5 hairs who gets his comeuppance while trying to get lucky.
He also points out some subtle ways bar staff take revenge on customers who go too far. I certainly wouldn't want to be on the receiving end.
Although the content is mocking, poking fun at the drinkers there is no malice intended, rather he seems to applaud their quirkiness. It is a show for all the Barrys and Daves.
The lyrics are quick, witty and has the audience in fits of laughter. Chris is incredibly watchable delivering his comical songs in a variety of genres including rap and country (which he sings in a bad American twang).
Chris is an incredibly talented writer and performer who knows exactly what his audience expects. I think he is capable of a lot more and I look forward to seeing how his work develops in the future.
The story of A Midsummer Night's dream is well known. Hermia and Lysander fall in love but flee to the woods when Hermia's father demands she marry Demetrius. Demetrius pursues them, followed by Helena, who loves him. Puck, a fairy, enchants the lovers, causing both men to fall for Helena. After confusion and mistaken identities, everything is resolved, and the lovers marry.
This production condenses the story into the 70 minutes run time. It was labelled as being Pre-Apocalyptic, which could mean any time before an Apocalypse.
The costumes are traditional Shakespearean with tights, tunics, and long skirts, suggesting a historical setting. However, the Pre-Apocalyptic theme does not seem relevant to the play.
It is also noted that this is set against a backdrop of climate change. However, the only reference to climate change is a forest fire projected on the back wall, with no clarification of its relevance to the play.
The Australian Shakespeare company performs and tours in remote outback settings and is best known for their appearances in parks and gardens. This may account for the entire 70-minute performance being delivered at a very high volume with little variation in tone. In the venue such as this which was not designed as a performance space this was particularly grating.
There were a few mitigating moments, Demetrius managed to speak at normal volume! The interactions between Demetrius and Lysander while playing the vamp after being bewitched by Puck, added some entertainment value, but sadly this was not enough to rescue the production.
References to the Apocalypse and climate Change in the pre-show information were totally unnecessary and misleading; the script was classic Shakespeare.
There were moments when it seemed the performance was trying to parody the play but sadly failed.
Ofelia Grey's semi-autobiographical play, Cafe de Profundis, is an intimate work well-suited to smaller venues such as Melostranska beseda Klub.
A large orange orb dominates centre stage as Opelia, dressed in white, slowly manipulates it using a series of balancing movement to maintain equilibrium. Changing into a coat she settles at the bistro table at the side of the stage and begins her narrative.
There is barista Sebastien, who never appears and doesn't ever answer. There's an espresso cafetiere, draped in a tablecloth that speaks and knows exactly which words torment. Along with a papier mâché fish who represents a memory of an imaginary childhood friend that disappeared.
Ofelia entertains for 50 mins by means of masks and costumes changing into different roles. A tramp in a black costume, an abused child in a mask, a skilled circus juggler specializing in juggling one, two, three and.oops! Four shiny golden sticks. Each of the characters show a vulnerability.
Cafe de Profundis is a mixture of dance movement, mime, juggling, and puppetry and we must not forget her skill with a hula hoop.
Sometimes the performance is moved along with the spoken word and at others she speaks in a series of gurgles, chuckles and moans to develop the story. It is a piece that explores fears, repressed memories and uncertainties.
The dynamic punk-cabaret music, composed by Martha Theuma and Luke Cheree, provides a powerful accompaniment.
Ofelia is a circus performer with 13 years of experience showcased in this one women's circus play with a combination of a highly skilled juggling performance and visual design. There was a technical hitch before the show, which started late, and maybe this accounted for the fact that Ophelia never seemed fully engaged despite her obvious circus skills.
The evening begins as the group leaders sit down to discuss the long hike they have just undertaken to reach a location near the late home of Lyndon B Johnson in Texas Hill, America.
Heart of the Country offers a different Fringe Theatre experience. The audience is part of the group around the campfire and immersed with the cast, although I believe it's not normally an interactive play adding to the stories but you're encouraged to join in with the campfire songs.
As the evening draws on, there's a selection of stories about encounters with Lyndon B Johnson. However, there was an American lady in the audience who told a "genuinely" first hand story about him, which took the cast by surprise. Unfortunately, they can not guarantee this happening in every show.
The cast need to work on getting their timings slicker and practice engaging with each other in conversation which would allow it to come across as organic rather than interrupting or talking over each other, which meant I couldn't hear some of the stories in full. The male cast members were guilty of this more often.
The beauty of the Fringe is that you can experiment with new ideas, and when you know you know you have intimate venues, you can plan accordingly.
There was a lit camp fire in the middle of the chairs placed in a circle and marshmallows that the audience could eat. Some added sound effects when they are bird spotting would have added some authentication to the activity.
Leyla Aycan takes to the Prague Fringe her solo play Gobstopper, where she also performs as the protagonist. The one-woman play tells the story of a young lady whose life is a catalogue of unavoidable bad decisions and challenges beyond her control.
The old man sitting behind on the bus is seriously irritating her and after shouting at him to "shut up" she quickly discovers he is choking on a gobstopper and the result could have been fatal. The crowd gather around to help him and she's glared at by the crowd and leaves the bus.
How was she supposed to know he was choking? You do get some odd characters travelling on public transport sometimes.
Everywhere she turns and looks she feels the eyes upon her and is familiar with the rumours and stories that have been created about her, many of which are unjustified. Stuck in a rut she isn't sure who to turn to or what to do to switch direction.
Let down by every adult in her life or wider circle of friends she is left carrying the blame for things that we begin to realise are beyond her control and the adults should have acted responsibly.
You can see that the audience begins to warm to Aycan's character once the truth behind her situation is explained in a roundabout way. She knows that she isn't a bad person and declares to members of the audience why she isn't. However, that's up to the audience to decide for themselves whether she is or not.
For more information about Gobstopper at The Prague Fringe please use the link below. Hopefully, this play will have a future life on another Fringe theatre stage.
As the war in Ukraine took hold when the Russians invaded under the orders from Putin, they invaded with violent force. Forcing many of the Ukrainian people to flee and take safety in other countries.
The cast of Four delivers Once Upon a Time in Ukraine in a chaotic, confusing and frustrating manner at times. I found it hard in places to follow their storyline.
However, Art is known to imitate real life and I looked at how these themes of frustration and fear would have taken hold of the Ukrainian people as they fled for their lives and weren't sure if they would ever return to the life they knew and what would happen to those who stayed behind.
The cast discussed life in other countries although the ones who settled in Germany stood out the most. Some of the refugees were placed in parts that could not speak anything other than German, making communication a huge barrier. They are forced to try to learn new cultures, food and a way of life that was to become their normal way of life as they integrate.
Anyone who has been displaced due to conflict and wars would recognise and understand more about the themes the cast of Four was grappling with than I could, although I could emphasise.
The stage hasn't seen the end of staged productions about the war in Ukraine. The Ukrainian creatives are going to take their experiences and speak to wider audiences to explore and understand the devastation that the war has created and the new ways of life they will have to learn to navigate.
Majun (the title means together) is a cross-cultural performance that integrates both traditional Ryukyuan dance, improvisional music and a specially commissioned Noh mask.
Originally Ryukuan dance developed as a form of prayer to the gods. The dances eventually into folk and court performances which form the basis of what we see today.
Riko Sugama enters the stage in a stunning Okinawan kimono. Vibrant orange with cherry blossom motifs and a traditional, large red lotus hat commands attention. Riko moves with measured pace, slowly, in time with the single bell notes from Ayane Kondo. Each step precisely placed accompanied with gentle hand movements.
Returning to the back of the stage she removes her decorative garments, releases her hair and removes the ceremonial make up. Now dressed completely in black she performs elements of traditional dance with a contemporary twist. Her movements are powerful yet delicate including the slow movements inspired by Japan's Noh theatre.
With a nod to the diversity of the traditional Okinawa's rich performing arts culture and district dances Riko incorporates many accessories in this production.
The red and white flowers express her feelings for the man she loves, an umbrella, a fan and the quintessential prop, the Noh mask which seems to invoke the invisible. Some of the moves are recognisably derived from karate forms.
This is a beautiful production, employing minimal elements with maximum effect, each movement accompanied by Ayane Kondo with skill and grace. It is peaceful, moving and meditative.
Performing at the Prague Fringe on May 30th and May 31st.
When I was taught creative writing at University we were told to write about "what you know". These words echoed as the play Stealing Stories began and conversations started about who was allowed to write whose story authentically, without repercussions.
Robbie (cis straight male) wants to write about a book with a queer theme and contains liaisons between two gay man, which Robbie has no experience of. He calls upon his longstanding friend Gavin (cis gay man) to help him write those parts as he has experience of these.
However, as the book gathers momentum and is about to be published Gavin is furious not to be credited as he had helped write a large proportion of the "juicy" parts.
Gavin's friend Mel (who is a lesbian) is a playwright and they discuss the situation over a drink. As Gavin pours his heart out Mel sees a new opportunity. The plot twists and turns throughout the performance although it's an easy plot line to follow.
The question the audience is left wondering is, Who writes original stories about their own lives without slight embellishments or the help of other's experience? And more importantly, does it matter if it's a good story?
Stealing Stories isn't groundbreaking comedy/drama. It's solid entertainment that can make you laugh at times, as the audience often did. The characters had a way of connecting with the audience that would allow them to break the wall momentarily when two of the cast joined the audience during a book signing.
It's a perfect fringe theatre production, which offers exactly what they advertise, a play about Stealing Stories.
Aimed at children 3+, Little Drops of Rain is Taiwan based, Bon Appetit Theatre's first show at the Prague Fringe.
The story features a little girl and her interactions with everything water related. She seems to have been abandoned by her parents and left alone to care for the cactus plants. She goes in search of water and makes friends with a little rain cloud but it cannot provide enough moisture to satisfy the plants.
Somewhere along the way there is an interchange with a man wearing a metal boiler on his front and there is an exchange of metal lids. Along comes a length of flexible metal tubing which fills a bath with (one assumes) water and then sucks up the little rain cloud.
The parents return and the boiler becomes a motorcycle engine.
The soundtrack to the story is provided by two very skillful foley musicians who use a variety of everyday items crafted out of recycled material to create a range of wonderful sounds from these most unlikely objects.
The puppetry is provided by a cast of two who perform with energy and artistry. Except dancing wellies on stilts, cloud umbrellas, and of course our heroine with her wild red hair.
There is much to enjoy about this production I.e. musicians and costumes but sadly there is too much style over substance. The two children in the audience never fully engaged not surprising as the story has too much abstract imagery with the man and metal tubing appearing with no context. One wanted to know why the puppet had a head and legs but nobody.
My dislike was the protagonist who would wail every time something happened constantly calling for muma or dada.
Whilst it is good for children to use their imaginations this felt far too nebulous.
Joseph Rawlings was diagnosed with testicular at the age of 26. However, the cancer tumour was discovered in his chest and later found to be in his testicles too. Hide My Porn is a reference to the question he asked his friend in a letter in the event of his death.
The one-man verbatim performance is an account of the journey he went through from the symptoms, diagnosis and through the lengthy treatment he needed.
With a washing line on the right-hand side of the stage, that had all the hospital and consultant letters hanging on there like yesterday's washed underwear, the extent of the treatment and communication is laid out for the audience to visualise.
Rawlings doesn't hold back on some the details about the invasive tests Doctors had to carry out in the process if diagnosis. His accounts and experiences on the wards aren't particularly pleasant either.
Despite everything that happened to Rawlings he attempted to hold on to his sense of humour and with the help of his brother's gifts of different hats sent through the post they helped lighten up the dark days, although he was getting them all back if Rawlings had died.
As well as being an all-round entertaining performance it's a play that doubles as an information production. Rawlings highlights the importance of men getting themselves checked out, and potentially saving their own lives.
Hide My Porn touches on the human side of the NHS and the number of people called "Karen" who all played a role in his road to recovery. Rawlings has an abundance of charisma and highlights the importance of humour during this horrendous time.
King Lear is one of the most iconic tragedies plays by the hand of the bard, William Shakespeare. With a normal running time of over three hours, the relationships and complexity of the play required the time for the tragedy to develop and conclude.
Pip Utton's adapted version of King Lear runs for 45 minutes. Anyone familiar with the original storyline cannot fail to be impressed by the attention to the details included in the performance.
The storyline is set in the original plays Act 3, scene 4. Lear has been cast out by his two daughters Goneril and Regan, with who he divided his land and his third daughter Cordelia whom he turned away as she refused to pander to his demands of an over inflated declaration of love for him.
Cordelia and her husband, King of France are about to declare war on England and Lear believes that the pair will meet up and become reunited once again. However, as anyone familiar with the story will know this never takes place.
During Act 3, scene 4 a storm is raging and the thunder and lighting reflect the madness Lear is facing as his mental and emotional well being is declining rapidly and old age takes over.
Several times Utton breaks the fourth wall as he grapples with understanding what is happening and reflecting on his past behavior. Vanity and ego took over and destroyed the bonds and relationships he once had with all three of his daughters.
Utton is a powerful performer who becomes the distraught King with believable ease. It was such a pleasure to witness a stripped-back version of one of my favourite Shakespeare plays without any of the main themes missing.
It doesn't matter whether you are familiar with the original story or not you will feel you know the text by the end of this performance.
Hemlines is a play that grew out of late-night conversations between the friends. It is a well-known and documented phenomenon that the money markets will rise and fall with the length of a skirt (or vice versa).
What if there was some guiding force behind this observation, maybe three fates working in a quiet corner of the heavens, transforming fabric into a range of stunning creations and controlling more than just the length of a skirt?
Two of the seamstresses Eleanor (Alice Badger) and Doris (Madison Chippendale) have worked there for millennia before Eleanor, who never makes a mistake, did on this one occasion. Which resulted in, Flossy (Lana Filies) joining them in the sewing room.
Two hundred years later Flossy is bored and wants to go back to the world she left behind.
She is clumsy and constantly asks questions about why they are making these clothes and who wears them. Eleanor and Doris show Ginny the needle through which they can view the outside world.
The three actors give a solid performance and their voices blend nicely in the musical interludes courtesy of Amelia Gilday's adaption of Kate Bush numbers.
This is a gentle and charming play, a genuinely feel-good production, which has been perfectly crafted and performed for a fringe theatre stage.
Australian-born comedian Mel McGlensey has an outrageous and funny comedy production called Motorboat. Where she takes on the persona of a Motorboat and is told by her "Captain Daddy" that she has to dock and behave just as Daddy instructs as there's a storm raging and she could be in danger.
However, the Motorboat has other ideas, some rather naughty, and with some encouragement from the audience and feeling rebellious, she has a strong desire to experience the thrill and excitement of being pounded by the wildness of the deep sea during a violent storm.
McGlensey has an abundance of charisma and personality and deals effortlessly with anything (banter-wise) that the audience decides to throw at her, she wasn't phased once and had a fantastic rapport with the audience member who was an "all-round" Tug Boat, make of that what you will.
Due to the nature of the content of Motorboat, it carries an age restriction of 16 years. Although knowing how much more advanced some teenagers can be they could probably explain the terms used to those who looked a bit confused.
It's a very different comedy performance from anything I have seen before and it's one I would recommend seeing if you are visiting the Edinburgh Fringe this year.
For more information about Mel McGlensey is Motorboat please click on the link below. Motorboat will be performed at the Edinburgh Fringe this August 2025.
Michele Puleio plays a man with a compulsive buying addition from an online retailer. He leads a sad life where his only excitement is that precious time between placing the order and accepting the parcel from the delivery man before realising that he doesn't want the items anyway.
His girlfriend has left him because of his addiction and he is alone with only the screen and the constant daily recommendations to sustain him.
He plans his revenge and gets a job with the retailer sorting parcels, eventually acquiring a gun by manipulating their systems.
The day comes when he takes the warehouse hostage and the story focus changes and centres on those who have been taken captive. Each detainee has a different story, all equally despairing.
Puleio inhabits each in turn; the manager who gave him the job; a fellow employee; a 54-year-old wimp who offers up his life in sacrifice as it's the only exciting thing to ever happen to him; the office vamp who comes down from Admin to see what's going on and tries to seduce the man; a colleague who tempts him to go on a rampage killing everyone in the warehouse and really making his name.
Nine characters in total all played by Puleio with very few props; mostly wigs or glasses. Michele transforms himself physically and facially to embody the character of each in turn successfully.
My favourite is the Vamp.
Michele is a charming performer and overall the show is fun with a lot of light-hearted humour. Sadly, however, the ending lacks punch, a little editing to cut it short at the climax would vastly improve the pace.
Women over forty are an easy target for advertising campaigns with face creams, incontinence pads and anything else which undermines them ageing with pride and not disappearing into an invisible realm. The amount of negative advertising and press towards us needs to stop.
Nana Funk has had enough and wants to be heard loud and proud. Although getting older isn't necessarily fun with the grey hairs, hip replacements, and menopause all these don't mean we don't still have a voice and purpose. Why should we just accept it and be ashamed?
There's an element of audience participation during the show and the audience are asked to make song subject requests before they come in and a few are picked out at random. Every show will be slightly different as the subjects change. Although one was too risqué and Nana Funk refused to read it out.
Nana Funk is the Nana every child needs (deserves) in their life, speaking out against what has become the acceptable "norm" and drawing attention to the fact that ageing needs to be seen as a privilege, not an embarrassment where we hide away and apologise for still being here.
Being in the (well) over forty clubs so many of the themes and external prejudices made against women in that group I related to wholeheartedly and the internal rage Nana describes is gently simmering away daily.
The show offers humour, music and a huge dose of self-worth to those feeling overwhelmed and undervalued by an advertising world who quite frankly haven't got a clue what many ladies of a certain age want and need to rethink their slogans and consult their target audiences rather than preach at us.
Fckboy is a charming solo show written and performed by Freddie Haberfellner that explores gender dysmorphia, body autonomy and celebrity crushes from a trans perspective.
Freddie's story is told in a series of four interwoven stories. Travelling on the District Line from Aldgate Estate to Richmond with a pair of scissors in their pocket they are heading at increasing speed towards the final destination and decision time. To cut or not to cut; hair that is, and to confront their identity full on.
Meanwhile their past self is drunkenly dancing in a club and crawling around the floor looking for a hair tie and their future self is in therapy insisting they are not insane.
Freddie chooses one person from the audience to be Andrew Garfield, their imaginary crush and declares their love for the movie star knowing that a true love would return that love whatever the body form. As the chosen one (straight, female, septuagenarian) I can say that Freddie has the most mesmerising eyes.
Whilst back on the train a couple sit on the opposite side of the carriage we are asked if they had to define a moment when they decided they were cis in much the same way as trans people are asked.
The show challenges many misconceptions and misinformation that trans individuals face on a daily basis. It is face paced, honest and lacking self pity. There are frequent questions about self, how Freddie's feels and his treatment by others.
The Chai Queens Babli and Tejal remember a time fifteen years ago when they were younger and in love, reminiscing their love through different cups of tea that they once shared and enjoyed the warmth of together.
Culturally their love was forbidden and they had to be careful not to get caught in compromising positions. After a violent turn of events split the couple up, Babli is quickly married off by her family to a man (probably to stop any rumours circulating) and Tejal leaves without warning to start a new life away from any repercussions.
After fifteen years apart they unexpectedly meet again at a three-day and three-night wedding the couple are surprised at first. They soon realise they haven't lost the feelings they once held for each other. Stealing moments throughout the wedding event to once again share their tea and warmth over a cup of chai.
There's a strong rapport between the "Chai Queens" Tears were falling between them as they delivered a heartfelt love story with an abundance of compassion and warmth to match their cups of tea.
During the wedding scene the couple share plates of wedding biscuits with the audience, these were delicious, worth checking ingredients first though as I am not sure what they were made with.
I saw a couple of audience members share their tears during a couple of the emotional scenes as they were possibly moved by their love story and shared their pain and heartache.
FRAT takes an insider's perspective looking at how an American Fraternity House hierarchy behaves and networks especially between those in the higher ranks. Anything goes and alcohol is at the top of every agenda.
The cast of Four brings Brent (Luke Stiles) the appointed head of the FRAT who believes he is untouchable, Alex (Max Allen) who is trying to keep his sexuality hidden, Charles (Elliott Diner) the overall party animal and Dexter (Will Hammond) who is up to date with the global market but has underlying narcissistic attitudes towards his girlfriend, Katrina.
Each of the four portrays their characters in an unnerving believable performance. You can feel the simmering tensions without any verbal explanations. None are particularly likeable although I feel Charles is the most honest in an "I don't particularly care way".
However, when the lights go out the madness of fractious initiation tests and tasks takes place for any new Fraternity members. I was questioning why anyone would want to put themselves through this self-deprivation to join in with these people. Although I do understand the networking side for their future careers. The English equivalent would be the "boys club" from public schools like Eton.
The overall theme of the Fraternity House is the long-lasting friendships and connections the members make during these times. Jobs, positions and the "girls" who are deemed in their league to be available to date.
The ending only offers an end to Brent's time in the Fraternity House. I left wondering and questioning what had happened and shouldn't justice have been decided by the law rather than a self-appointed "kangaroo court".
The News uses a tabloid newspaper as a metaphor throughout their performance as a fourth character for all media and news output, this trio embarked on a whirlwind tour of how this processed information affects our daily lives.
Ukrainian mime performers Kata Spondoneiko, Pasha Vyshevski and Olexander Symonenko literally turn the newspaper inside out, shred it and put it back together as control passes from one to another.
Alliances are made and broken as the story evolves. Do we control the news or does the news control us? The information we receive shapes our world view. The newspaper becomes an obsession as well as a prop as the trio vie for supremacy, becoming a bunch of flowers and a weapon.
The comic timing is impeccable as we move from traditional, slap stick mime sections to more sophisticated moves. The tumbling section in particular was a joy to watch.
The whole production was cleverly and precisely choreographed with many humorous and laugh-out-loud moments. The trio were smartly dressed in conventional suits initially but we discovered later that even the fabric lining was composed of newsprint.
Embodying all the theatrical techniques of nonverbal communication the performers have cleverly portrayed a modern concept within a traditional genre. There are some moments in the latter half which feel as if they have extended to fill the allotted time but this does not distract from skilful performance.
Ali (Chris Sainton-Clark) stumbles upon a situation at work involving his best friend Tony. The friends are scientists and work together in a laboratory. Alistair has underestimated his friend and begins to quickly uncover a dark and dangerous side to his life that he could never have imagined and soon regrets discovering.
In his quest for the truth about what Tony is up to, Alistair realises his life is ultimately quite boring and he is stuck in a rut without any direction or way out. He is married to a woman who doesn't show much warmth towards him and they are grappling with becoming new parents, life is far from ideal or exciting.
Sainton-Clark performs a diverse range of characters throughout the play with ease, although they all have very different agendas and personalities. The switch between each one is identified by a brief blacked-out where he changes an item or two of clothing. As each one takes on their persona they describe their part in the storyline, the pieces start to click into place, paths cross, and the truth unfolds.
The Night Ali Died will take you on a journey into dark places on the assumingly quiet and uneventful streets of Norwich, where nothing of anything interesting happens there apparently unless it's incest relented. Especially not the events that are about to unfold.
As a new piece of theatre, I was incredibly impressed by how polished and finished the performance feels and runs. Sainton-Clark gives an outstanding performance throughout and I mistakenly believed this had been running longer than two nights at Prague Fringe.
Comedy Castrophe, presented by Hill and Jones, offers some funny sketches and some laugh out loud moments. They have put together some new sketches and added their own twists and humour.
Hill and Jones have some interesting role-playing comedy sketches, although these are often repeated which sadly loses the comedy value. For example, if an established comedy duo have a special guest on their show, it's usually only one. In tjis show they trying to approach four, and it becomes stake. They could give more value to only approaching one to star in their show. The twist could be featuring different ones in each show. Allowing the duo to keep an element of surprise the show too.
The sketch that worked the best known my opinion was the frustration in booking shows online and consequently being directed everywhere else before returning to where you started. I felt my own frustrations rise and become annoyed on behalf of Hill.
The comedy duo have very clear strengths and weaknesses. They would benefit from watching other double acts live, who work in the Fringe to see how the performances are slicker and the timing's are managed. Hill and Jones have a good onstage rapport and compliment each other. However, there's more practice required for them to deliver a slick, strong, and polished show. Delivering good quality comedy is not for the faint-hearted.
The comedy sketches need to offer more variety and less repetition in order to keep the audience engaged in a sixty minute show. I would like to see them again once they have worked on their comedy show and have gained more confidence on the stage.
Stephen Catling is finding life challenging after two heart breaking break ups, he is trying to rebuild his life and battered confidence. While trying to understand and work through his depression. The audience never finds out what caused the break ups all we know is that Catling is hurt and angry.
As the title suggests, Catling is doing things slowly. He has likened his pace to the snail and slug. If you want to learn more about these creatures, Catling is a wealth of knowledge about their behaviour and habits. He has certainly done his research for the show.
Catling isn't a groundbreaking comedian. He captures some comedy moments. However, he tries hard and has created an interesting selection of puppets. Seeing is definitely believing, and i can't begin to describe one of them without sounding like i have been taking illegal substances.
There are some small role-playing games and audience interaction throughout the performance, although nothing embarrassing or uncomfortable. Catling is likable and highly intelligent.