★★★★

“an hilarious show that brings a fantastic piece of alternative and unique Christmas entertainment”

As another Christmas rolls around, one may find oneself looking for something new to reignite the Yuletide spirit, forgetting the old traditions and repeated specials that have begun to make the season feel stale. And that’s exactly why Perky Nativititties is a genius addition this Festive Season to London theatre. The show’s host Séayoncé (Dan Wye) presents their first live TV Christmas Special, assisted by their talented yet devious pianist companion Leslie-Ann (Robyn Herfellow). But this is no ordinary special, this is an Anti-Christmas Special – a show dedicated to calling out the ridiculousness of outdated morals and capitalistic false idols. Yet, something is sabotaging them. Christmas magic haunts the studio and the pair must find a way to stop it.

From the off, this show is thoroughly hilarious. Séayoncé has a witty, tongue in cheek and tongue very much out of cheek comedy style. Jokes involving dark humour, queer comedy and many explicit sex references. It’s the kind of adults-only show that comes with many warnings to the faint-hearted. But rest assured, it had the whole audience up and dancing by the finale. The show begins by introducing us to the characters behind the scenes of the live TV special, as if the audience were the studio audience. This instantly welcomed us into the interactive elements of the show – the encouraged applause, ‘Ooooh’ing and other noises directed via the on stage screens. There were also several moments where Séayoncé would bring audience members on stage to be involved with musical numbers. A traditional element of classic pantomimes.

Once the live TV special begins, we watch as the pair are haunted by the ‘true’ Christmas spirit, which they plot to destroy during the ad breaks. By Act Two, they’re ready to kill the thing that has been attacking them. The show ends on a truly uplifting message of togetherness and unity for those who do feel outcast at this time of year. After all the dark and dry comedy, you really do feel the queer joy that oozes from this piece.

My only gripe with the show is that some parts felt a little too drawn out with particular jokes feeling overdone. There’s one song about Jesus’ bedroom activities that felt like it was repeating the same gag over and over, which definitely made me switch off. This doesn’t affect the pace of the show overall, but a cut of a few of these moments of repetition could do wonders.

The set consists of a studio-like pop up set hosting a comfy armchair, piano, digital fireplace, a Christmas tree, a second pink tree that snows and various cardboard cameras. It feels wonderfully homely, the DIYish elements of the homemade cameras adding a nice touch. Séayoncé wears a deep burgundy caftan and head cover, their typical medium get up, and Leslie-Ann a lovely sparkly black dress, a staple for the winter season.

Overall, Perky Nativititties is an hilarious show that brings a fantastic piece of alternative and unique Christmas entertainment for audiences who connect with the weird, the wonderful and the downright wacky.

THE MASSIVE TRAGEDY OF MADAME BOVARY

Southwark Playhouse Borough

★★★

“a high-spirited affair that the cast dive into with relish, commitment and enviable energy”

Gustave Flaubert, the champion of realism, spent five years writing “Madame Bovary” only to find himself charged with immorality. Thankfully he was later acquitted, and the notoriety that the trial provoked accelerated the novel’s rise to bestseller status. It is now considered Flaubert’s masterpiece; one that maintains its revered place in literature (its influences have reached the likes of Marcel Proust, Virginia Woolf and James Joyce). Okay, the novel was a touch bleak, to say the least, and we all know that it ends in tragedy. John Nicholson might be exaggerating the magnitude of the misery by prefixing his retelling of the story with the word ‘massive’. And he might be missing the point by unashamedly turning it into a farcical comedy. By his own admission, Nicholson has ‘lovingly derailed’ the story. Interpret that how you will. After all, theatre is all about free expression, and this play is very free with it.

The story of the cuckolded country doctor and his frustrated, pleasure-seeking wife is turned on its head as it wields its slapstick and wry exposition with such force that the fourth wall has no chance of standing. Even a sabotaged attempt at changing the ending is allowed into the edit. The result is a stew of French and Saunders, Blackadder and Upstart Crow, with a generous side order of pantomime. It is a high-spirited affair that the cast dive into with relish, commitment and enviable energy. Georgia Nicholson, as the ruffled Madame Bovary seeking amorous adventure, is surrounded by the whirlwind threesome of Stephen Cavanagh, Ben Kernow and Darren Seed who play at least a couple of dozen other characters. The story begins at the end with Madame Bovary recounting her life story to a pair of ratcatchers who have arrived in the village of Yonville. At times it is almost like a speed run. A ‘Potted Panto’ performed by ‘The Reduced Flaubert Company’.

Buried deep in the silliness are strokes of ingenuity. Kirstie Davis’ staging is slick and precise. Beneath the mayhem there is a reliance on accuracy of movement and timing, which the actors are well practiced at. Grace Murdoch’s movement and choreography is an extended conjuring trick, albeit one that seems to have wandered in from the set of ‘The Play That Goes Wrong’. Like the jokes, the influences are manifold, and the bawdy humour does become relentless and predictable. Nevertheless, the versatility of each performer shines through as they switch characters and costume at lightning speed.

You cannot help but admire the irreverence. Their approach to Flaubert’s text is embodied when, at one point, one of the ratcatchers exclaims “you took the words out of my mouth… but in a different order… and with different words”. There is a clear echo of Eric Morecambe’s famous line brilliantly delivered to André Previn. The bravery of this company matches its tongue-in-cheek audacity. In his mausoleum in Rouen, I’m sure Flaubert must be grinning, even if it can’t quite conceal an expression of open-mouthed bemusement. Over in Southwark, the audience seem to be of a similar opinion. Between moments of bewilderment the laughs come thick and fast (though as a grin rather than the out-loud variety) in this risqué, eccentric and anarchic comedy.

PERKY NATIVITITTIES

The Yard Theatre

★★★★

“an hilarious show that brings a fantastic piece of alternative and unique Christmas entertainment”

PERKY NATIVITITTIES at The Yard Theatre

Reviewed on 9th December 2024

by David Robinson

Previously reviewed at this venue:

PERKY NATIVITITTIES

PERKY NATIVITITTIES

PERKY NATIVITITTIES

THE MASSIVE TRAGEDY OF MADAME BOVARY

Southwark Playhouse Borough

★★★

“a high-spirited affair that the cast dive into with relish, commitment and enviable energy”