Tag Archives: Alex Brenner

AFTER THE ACT

★★

Royal Court

AFTER THE ACT

Royal Court

★★

“it remains an interesting and worthwhile history lesson”

Jenny lives with Eric and Martin was just another children’s book in 1988. It wasn’t new and wasn’t even originally British, as it had first been published in Copenhagen in 1982. So how did this book become the starting point of a campaign, which ultimately led to the inclusion of Section 28 within the Local Government Act of 1988? After the Act is an entertaining musical, which tells the story of Section 28 through the eyes of those most closely affected.

‘Section 28’ refers to a specific clause with the Local Government Act of 1988, which prohibited schools from ‘promoting’ homosexuality, the wording of which was ambiguous enough that it resulted in the restriction of teaching of the acceptability of homosexuality, particularly concerning family relationships.

It is a strange era to look back on. Views that would be considered to be politically extreme nowadays were front and centre and were actually winning the argument. An imaginary enemy had been conjured up, largely driven by ignorance and misunderstanding. After the Act explores this period of recent history from multiple vital perspectives: teachers who could not speak up for risk of jeopardising their careers, students for whom bullying and discrimination had become a part of their everyday existence and the activists who fought hard to educate people and bring about real change.

The play splits fairly evenly into two halves. In the first act, we see the build-up to the passing of the Act in 1988. The tone is set clearly early in the play. People’s concerns about gay people are not challenged, whereas protestors are dismissed as mad rabble-rousers. Two scenes stand out in the first act. The first is where protestors have made it on the news at 6 on the BBC but are being silenced (fitting for the time) to not disrupt the broadcast. The second is the re-enactment of protestors abseiling into the House of Lords following the passing of the bill. These scenes are excellently written (Billy Barrett and Ellice Stevens) paying tribute to the real-life activists involved.

The second act covers the aftermath to the passing of the Act before it was eventually repealed in 2003, detailing the experiences of people who had to live through this time period and how it affected them well beyond the law had been changed. This should be the point where it all comes together. However, the biggest issue is the contradiction between its comedic elements and the hard-hitting truths that it wishes to divulge. The tone of most of the first act is strangely uplifting and funny, which is maintained through to the start of the second act, when one of the performers enters the stage dressed as Margaret Thatcher and sings as the former Prime Minister.

The individual elements of the play are interesting and well-performed, and all of the cast display an impressive range as they move from character to character bringing to life more people’s stories from this period. However, these parts often work against each other without a clear link to the central narrative, rather appearing more like a slide show of different characters.

Keyboard and drums add a lively accompaniment to the performances on stage. Sadly, the backing music and use of songs is often overdone and is too much of an ‘ever-present’ during the show rather peaking for significant moments, which does make it a little tiring, giving the show an impression of ‘more bark than bite’. Overall, despite its flaws as a production, it remains an interesting and worthwhile history lesson, which deserves to be taught.



AFTER THE ACT

Royal Court

Reviewed on 27th May 2025

by Luke Goscomb

Photography by Alex Brenner

 

 


 

 

 

 

Last ten shows reviewed at this venue:

MANHUNT | ★★★★ | April 2025
A GOOD HOUSE | ★★★★ | January 2025
THE BOUNDS | ★★★ | June 2024
LIE LOW | ★★★★ | May 2024
BLUETS | ★★★ | May 2024
GUNTER | ★★★★ | April 2024
COWBOIS | ★★★★★ | January 2024
MATES IN CHELSEA | ★★★ | November 2023
CUCKOO | ★★½ | July 2023
BLACK SUPERHERO | ★★★★ | March 2023

 

 

AFTER THE ACT

AFTER THE ACT

AFTER THE ACT

PIAF

★★★★

Watermill Theatre

PIAF

Watermill Theatre

★★★★

“Audrey Brisson’s portrayal of Piaf is magnificent”

Piaf is a play by Pam Gems that focuses on the life and career of French chanteuse Edith Piaf, revered as much for her exceptional voice as for her extraordinary life. It is a biographical drama with music and has previously portrayed the singer as a self destructive, promiscuous alcoholic. Born Edith Giovanna Gassion in the slums of Paris to an acrobatic street performer father and singer / circus performer mother, Edith was abandoned at birth by her mother and ended up being brought up by prostitutes at her paternal grandmother’s brothel. Later regarded as France’s greatest popular singer and one of the most celebrated performers of the 20th century she was a woman who in turn experienced glory and degradation.

The Watermill has a rich history of experimental actor-musicianship and in this innovative production the director (Kimberley Sykes) and musical supervisor (Sam Kenyon) have imaginatively used the framework of street performers/musicians together with a clever design (Good Teeth) and sympathetic lighting (Prema Mehta) to portray the many people in her life as well as reconnecting with Piaf’s roots. The simple use of a trombone to mimic a war plane, a sawing cello depicting a motor engine, or Piaf’s foot crashing on a piano keyboard, are some of the remarkable musical devices this talented nine strong ensemble use, not only as accompaniment, but for dramatic sound effects throughout.

The copious instruments played by the versatile actors were constantly being switched around and during ‘L’Accordeoniste’ there were three accordions playing, plus an electric keyboard which created a wonderfully authentic Parisian feel to the song. At the introduction of boxer and Piaf’s lover, Marcel (a very talented Djavan Van De Fliert who also plays Yves Montand and one to watch) the use of drums was particularly evocative and during ‘Mon Dieu’ the two double basses were not plucked as in previous numbers, but bowed, enhancing the legato and sensual feel of this number. The use of A Capella voices to accompany Piaf in ‘Jimmy Brown’ was particularly effective as was the musical staging (Michela Meazza) of ‘Bravo pour le clown’. This production is as much about music as it is about Piaf’s life and the musical arrangements elevated it to a whole new level which made it seem more honest and raw somehow.

But Piaf’s life is a biographer’s dream and this play is a star vehicle for the actress playing the role. Audrey Brisson’s portrayal of Piaf is magnificent – a beautiful observation that is refreshingly honest, warm and funny. She completely captures the unique vocal sound of Piaf without ever becoming a caricature and has a remarkable physical resemblance to her at times. My only slight quibble is that she didn’t convince me of her back-street roots, she was not quite edgy enough.

This is a stand out production, with Brisson’s emotive renditions of some of Piaf’s greatest hits reminding us that she left behind an unforgettable legacy… a voice that became the symbol of love and loss and that you have to pay for true happiness with your soul.



PIAF

Watermill Theatre

Reviewed on 9th April 2025

by Sarah Milton

Photography by Alex Brenner

 

 


 

 

Previously reviewed at this venue:

THE KING’S SPEECH | ★★★★ | September 2024
BARNUM | ★★★★ | July 2024
MUCH ADO ABOUT NOTHING | ★★★★ | April 2024
THE LORD OF THE RINGS | ★★★★★ | August 2023
MANSFIELD PARK | ★★★★ | June 2023
RAPUNZEL | ★★★★ | November 2022
WHISTLE DOWN THE WIND | ★★★★ | July 2022
SPIKE | ★★★★ | January 2022
BRIEF ENCOUNTER | ★★★ | October 2021

Piaf

Piaf

Piaf