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APRICOT

★★★★

Theatre503

APRICOT at Theatre503

★★★★

“entertaining, engaging and ultimately relatable where it needs to be”

Apricot is a comedy about abortion. Right off the bat- this may be a hard sell for some. The show makes no apologies and pulls no punches in this pithy dark comedy which opens with an immediately gripping set-up. The characters speak frankly to one another and the audience are invited into the absurd and the heartfelt discussions between two teenage girls grappling with religion, Love Island and snap maps. The dialogue swings between wonderfully weird and brutally honest as the story progresses. Questions about abortion are asked and answers are not always given, which adds to its complexity and avoids dumbing down the subject matter. The show does not judge these two young women but rather offers their perspectives with humour and heart.


Written by Gigi Rice, the dialogue does not shy away from being graphic and gross and neither does the humour. Gina (Lucy Nicholson) is a religious naïve teenager who is also a bit of weirdo (an endearing one nevertheless). Angel (Jazz Tizzard) is more mature and world weary, relying on Gina for support. Angel uses abortion as a form of birth control and refuses to be the victim of her narrative. Nicholson and Tizzard are a spectacular duo who deliver laugh after laugh alongside some cutting moments of truthful girlhood. Nicholson portrays a brilliantly freakish wide eyed teen. Complementing the dynamic, Tizzard is more grounded and subtle. Caleb (Finlay Vane Last) appears as a minor role but manages to give provocative and humorous additions to the story, depicting a complex and funny male perspective without overstaying his welcome in a predominantly female focussed piece.


The set is fairly simplistic with a simple sofa and coffee table to set the location in Gina’s living room, accompanied by minimal lighting states (Fergus O’Loan). The costumes do the job and convey the story with some creative limitations (Clare Nicholson). Each scene is separated by a soundscape of relevant pop culture and news soundbites with some room for improvement, but overall quite effective (Sarah Cameron-West).


The story challenges the audience to withhold judgement as Gina and Angel squabble like sisters before a surprise visitor arrives. In a later scene, Angel begs Gina to forgive her in a moment dripping in religious subtext. The play leaves questions surrounding ‘the moral high-ground’ up in the air, with a somewhat bittersweet end that also feels cathartic. The conversations feel topical and unique without tired arguments and over the top scenarios. The subject matter and the tone of the piece is bound to be controversial for some, however the piece is entertaining, engaging and ultimately relatable where it needs to be.


APRICOT at Theatre503

Reviewed on 14th March 2024

by Jessica Potts

 

 


Previously reviewed at this venue:

A WOMAN WALKS INTO A BANK | ★★★★★ | November 2023
ZOMBIEGATE | ★★★ | November 2022
I CAN’T HEAR YOU | ★★★★ | July 2022
TIL DEATH DO US PART | ★★★★★ | May 2022

Apricot

Apricot

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MY BEAUTIFUL LAUNDRETTE

★★★

Queen’s Theatre

MY BEAUTIFUL LAUNDRETTE at the Queen’s Theatre

★★★

“pertinent and important, and a visually strong reimagining of an iconic and powerful story”

When Hanif Kureishi’s romantic comedy-drama film was released in 1985 it was swiftly hailed as being a mirror to society at the time, casting a sharp eye on London life in the height of the Thatcher years. It almost had too much to say, but the central focus – of the romance between Omar, a young Pakistani living in London, and street punk, neo-fascist Johnny – still managed to shine through. Kureishi’s adaptation for the stage holds onto that perspective while simplifying the surrounding complexities of race, class, and economic and social upheaval that defined the era.

We are definitely in 80s territory, with bursts of the Pet Shop Boys music linking the scenes, and misogyny and racism vying for supremacy against the cold, concrete backdrop of Grace Smart’s inspired set. The burgeoning romance from across the divide is echoed by Ben Cracknell’s lighting, throwing neon splashes of colour and hope against the bleak reality. This is a dog-eat-dog world in which a modern day, same-sex ‘Romeo and Juliet’ attempt to defy the odds.

Omar (Lucca Chadwick-Patel) is a young British-Pakistani saddled with an alcoholic, disillusioned father (Gordon Warnecke) until brash, ‘loadsamoney’ Uncle Nasser (Kammy Darweish) sets him to work managing his run-down laundrette. In a scuffle with a group of National Front lads, Omar spots old school chum Johnny (Sam Mitchell) who is adrift and hopelessly uncommitted to his Fascist tendencies. They join forces to add the eponymous adjective to the laundrette. The means are dubious, illegal and overflowing with compromise, yet amidst the subterfuge a passionate romance blossoms.

 

 

Despite Kureishi’s rich command of dialogue and monologue, Nicole Behan’s production removes a lot of the plausibility. And despite a strong cast, the collective performance removes most of the poignancy. An overall hesitancy to the acting dampens the dynamics and often strips the lines of feeling. There are exceptions, however, particularly in the second act, when Chadwick-Patel and Mitchell grab their chance to let their talents flicker as Omar confronts Johnny about his fascist past. A beautiful moment that concentrates the pathos, but we wish it could be more evenly distributed throughout the whole play.

Likewise, the inherent comedy is hovering in the wings, not quite brave enough to step onto the stage and announce itself in all its justified glory. As a result, the contrasting danger that underscores the narrative is weakened and it is sometimes difficult to differentiate the two. Johnny’s National Front sidekicks, while intentionally ridiculous, come across as boyish caricatures.

The play depicts an era, but sadly some of the issues are still with us, albeit in different forms in our age of social media. The production captures the essence of its time while still managing to feel contemporary. And the finale is uplifting, with a feel-good factor that pre-empts the progress society has made over the last four decades. That we still have some way to go is skilfully brought out in this production. However it can be argued that the show, too, has still some way to go to fulfil its promise.

It is pertinent and important, and a visually strong reimagining of an iconic and powerful story. The production values are high, but ultimately the stakes are low.


MY BEAUTIFUL LAUNDRETTE at the Queen’s Theatre

Reviewed on 29th February 2024

by Jonathan Evans

Photography by Ellie Kurttz

 

 

Previously reviewed at this venue:

WILKO | ★★★★ | February 2024
THE WITCHFINDER’S SISTER | ★★★ | October 2021

MY BEAUTIFUL LAUNDRETTE

MY BEAUTIFUL LAUNDRETTE

Click here to see our Recommended Shows page