Category Archives: Reviews

THE GANG OF THREE

★★★★

King’s Head Theatre

THE GANG OF THREE

King’s Head Theatre

★★★★

“At the centre of director Kirsty Patrick Ward’s bitchy and erudite psychodrama are three rounded and convincing performances”

The occasional soundtrack behind this formidable political drama tells of a nation undergoing change, from the raucous rock of the early ’70s to the chaotic onslaught of punk and New Wave as the ’80s approach.

But inside Libby Watson’s evocative set – all dusty books, leather sofas, and drinks trolleys – the same argument goes round and round.

Three giants of the Labour movement – Tony Crosland, Roy Jenkins, Denis Healey – all pals from war-time Oxford – cannot fathom how to seize the leadership of their party and the country.

It’s right there for the taking, if only they can agree on who should carry the flame.

With such a prize will come influence for generations. Think: no Margaret Thatcher; the leftist tendency put to the sword; no third party politics.

But these towering figures are also – and perhaps more so – towering egos and none will relinquish their claim.

In the end, the prize is lost.

In writers Robert Khan and Tom Salinksky’s reckoning, the what-ifs fly like shrapnel through the years.

That is not to suggest these three upholstered middle-aged men were on the outside. No, they were close to power, becoming the embodiment of the privileged elite. Roy Jenkins, the father of the permissive ’60s, Denis Healey, arguably the last truly charismatic chancellor, and – brightest of them all – Tony Crosland and his seminal thinking on the future of socialism.

And yet, the prize eluded them and was granted to lesser men, in their eyes. They marvel, at one point, how the hard left stole the party after the 1979 election defeat simply because Tony Benn and Michael Foot did a deal that avoided splitting the vote, a feat the magnificent minds of The Gang of Three simply couldn’t pull off. For years.

As Healey says at one point, “We are all children wearing our fathers’ clothes, hoping no-one will notice.”

They know their fate is to sink together, to cancel each other out, but still they cling to old disputes while the country moves on.

At the centre of director Kirsty Patrick Ward’s bitchy and erudite psychodrama are three rounded and convincing performances, not impressions but capturing the spirit of those mighty figures.

Alan Cox is Crosland, all camp teasing and frivolity; booming Colin Tierney captures the avuncular yet menacing manoeuvrings of Denis Healey; while Hywel Morgan has the hunched-up physicality (and the mispronounced Rs) of the uptight, humourless Roy Jenkins, so desperate to run a party, he eventually founded his own.

In the brisk, knowing script we jump from April 1972, just as Jenkins throws his toys out of the pram and resigns the deputy leadership, to the mournful 1980 post-mortem, Thatcher in power for a generation and Jenkins still plotting to claim the liberal throne.

By then Crosland is dead at 58, his stellar potential left unfulfilled.

There is an unfortunate flashback to 1940, suggesting a homosexual fling between Jenkins and Crosland, but beyond that, the play never puts a foot wrong. The script is dense with argument about the difficult politics of the left but all is handled with a deft and playful touch.

To those who were there, it is an exciting tribute to great men of charisma in an age of titans – and to those too young to remember, it serves as a reminder that nothing – least of all fratricide – is new in politics.

The Gang of Three is an accomplished and satisfying work, with polished performances, a witty script, endless gins and a cascade of awkward truths that are still relevant today.



THE GANG OF THREE

King’s Head Theatre

Reviewed on 6th May 2025

by Giles Broadbent

Photography by Manuel Harlan

 

 

 


 

 

 

 

 

 

Previously reviewed at this venue:

(THIS IS NOT A) HAPPY ROOM | ★★★ | March 2025
FIREBIRD | ★★★★ | January 2025
LOOKING FOR GIANTS | ★★★ | January 2025
LADY MONTAGU UNVEILED | ★★★ | December 2024
HOW TO SURVIVE YOUR MOTHER | ★★★ | October 2024
TWO COME HOME | ★★★★★ | August 2024
THE PINK LIST | ★★★★ | August 2024
ENG-ER-LAND | ★★★ | July 2024
DIVA: LIVE FROM HELL! | ★★★★ | June 2024
BEATS | ★★★ | April 2024

 

 

THE GANG OF THREE

THE GANG OF THREE

THE GANG OF THREE

FAYGELE

★★★★★

Marylebone Theatre

FAYGELE

Marylebone Theatre

★★★★★

“allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing”

Faygele is a powerful and moving theatrical piece written by Shimmy Braun and directed with sensitivity by Hannah Chissick. It’s a work that gives voice to those so often left unheard – particularly queer individuals navigating faith, family, and identity.

From the opening moment, the production draws you in with a cleverly designed stage (David Shields) where the actors not only perform, but move the set around them, symbolising the constant shifting of roles and expectations. At the centre of the story is Ari Freed, a young gay man growing up in an Orthodox Jewish family. Ilan Galkoff plays Ari with honesty and vulnerability, instantly capturing the audience’s attention. His portrayal offers a deeply personal look into what it means to grow up queer in a religious world that doesn’t always have space for difference.

Clara Francis brings complexity to the role of Mrs. Freed, Ari’s mother. She is caught between her love for her son and her desire to keep the family together in a community that clings to tradition. Her performance reflects the silent emotional labour so many mothers endure when trying to bridge impossible gaps. Ben Caplan, as Dr. Freed – the father – gives a gripping performance as a man torn between faith, pride, and fear. His internal conflict is portrayed with intensity, especially as he wrestles with the idea that his son’s identity could bring shanda (disgrace) upon the family.

A standout performance also comes from Andrew Paul as Rabbi Lev, who is perhaps the most quietly revolutionary character. Instead of condemning, he listens. He reflects. He questions. Through his character, the play asks whether faith can grow, evolve, and hold space for queerness without losing its roots. His attempt to guide the family with compassion rather than judgment adds a hopeful thread to the story.

What makes Faygele so impactful is its ability to speak across identities. You don’t need to be Jewish to feel the emotional weight of tradition, nor do you need to be LGBTQ+ to understand what it means to be silenced, othered, or misunderstood. The play confronts difficult topics homosexuality, mental health, and generational trauma with courage and care. Words like “suicide” and “shame” are not hidden here, they’re spoken, embodied, and honoured in a way that invites dialogue rather than silence.

In a time when we often talk about inclusivity but struggle to practise it, Faygele does something rare: it listens deeply. It allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing. For anyone interested in queer stories, Jewish representation, or simply great theatre, Faygele is more than a play, it’s a must see.



FAYGELE

Marylebone Theatre

Reviewed on 6th May 2025

by Beatrice Morandi

Photography by Jane Hobson

 

 


 

 

 

Previously reviewed at this venue:

WHITE ROSE | ★★ | March 2025
WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK | ★★★★ | October 2024
THE GOVERNMENT INSPECTOR | ★★★★ | May 2024
THE DREAM OF A RIDICULOUS MAN | ★★★★ | March 2024
A SHERLOCK CAROL | ★★★★ | November 2023
THE DRY HOUSE | ★★½ | April 2023

 

 

FAYGELE

FAYGELE

FAYGELE