Tag Archives: Auriol Reddaway

Maybe I Do ... ?

Maybe I Do…?

★★★★

Hen and Chickens Theatre

MAYBE I DO…? at the Hen and Chickens Theatre

★★★★

Maybe I Do ... ?

“Camblor is a masterful and mad comic performer. She is definitely one to keep an eye out for”

 

Maybe I Do …? is a wild and joyous whirlwind, taking us through the romantic disasters of a woman who can’t help but hear wedding bells every time a man suggests a casual coffee. Carmen is a mess. It’s her wedding day, she’s marrying the wrong man, he’s in prison AND the wedding is on Zoom. She embarks on the tale of her romantic life, addressing the priest and gathered virtual congregation. What follows is a whistle-stop tour of the men she’s met and dated since moving to the U.K., as well as some very strong Spanish and British cultural commentary.

Writer/performer Cova Camblor’s monologue is skilled and consistently funny, pulling out witty one-liners, great Spanish/English misinterpretations and an impressive level of physical comedy. It’s a practised and confident performer who can play with silence, and Camblor (as well as director Anca Vaida) knows she can make it work. Early on, Camblor mimes her nonchalant reaction to a text from the man of her dreams. As the audience roared, we knew we were in safe hands. Camblor is very much in control, and each segment is well-structured and beautifully executed. Sometimes the transitions between each wild story feel a bit undercooked, but the energy and joy of the performance gives the piece a strong drive.

It’s a simple set, just a table and chair with an iPad (the whole piece is a Zoom call) and Carmen’s phone, on which her sexy love interest occasionally texts her. Camblor is decked out in full wedding dress and veil, and struts around the space, confidently taking up space. There are two moments of voiceover from the priest, which creates really useful bookends for a piece which could risk ambling on indefinitely. The lighting is simple and shifts for some of the anecdotes, helping to shake up the mood for each story.

Some of the plot doesn’t quite come together, we never do get to the bottom of why Steve Stevens is in prison. But it doesn’t really matter. In some moments though the energy does sag a little. A lot of the comedy comes from Camblor’s dramatically thick Spanish accent, but at times it can be a bit hard to follow, which means some of the well-crafted jokes fall a bit flat.

However, for such a short piece, it really packs in the laughs and Camblor is a masterful and mad comic performer. She is definitely one to keep an eye out for.


MAYBE I DO…? at the Hen and Chickens Theatre

Reviewed on 31st July 2023

by Auriol Reddaway

Photography by Borja López

 

 

 

Previously reviewed at this venue:

 

Lautrec | ★★★½ | August 2022

Maybe I Do…?

GMaybe I Do…?

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Diary of a Gay Disaster cast

Diary of a Gay Disaster

★★★★

King’s Head Theatre

DIARY OF A GAY DISASTER at the King’s Head Theatre

★★★★

Diary of a Gay Disaster cast

“The energy is infectious, with belting performances from all three cast members.”

 

When Mark Ravenhill and Hannah Price took over as artistic directors of the King’s Head Theatre in 2021, Ravenhill promised that the theatre would seek to represent ‘the full spectrum of experiences symbolised by the rainbow flag’. This Pride Month festival is doing just that, four guest artistic directors front ‘The Takeover’ season with Diary of a Gay Disaster being part of Tania Azevedo’s MT Pride Lab Season.

The show is a joyous and unapologetic exploration of the young queer female experience, bursting with riotous pop songs and tightly written one-liners. It’s specific, and plays to an audience who will relate, but that’s the beauty of it.

Ellis (Elly Fenton) is a new flatmate, joining intense and over the top Mia (Talya Soames) and chilled out Finlay (Liv O’Connor), who she’s met via Spare Room. In a desperate attempt to bond, Mia steals Ellis’ diary and insists they have a big night together reading it, to celebrate Ellis’ arrival. All three women are queer, and the diary documents the experiences of Ellis, growing up as a queer woman. They quickly find they’ve shared many of the same experiences, and each chapter is dissected, and sung about, in a string of poppy and peppy tunes.

The energy is infectious, with belting performances from all three cast members. Their passion shines in their comedy, and it stays high octane for most of the show. The more emotional, heartfelt moments are a little weaker, the characters are quite broadly sketched, meaning their own relationships are less interesting than the universal, relatable experiences that they sing about. But the commentary on current queer dynamics, on growing up queer and navigating finding a community is fresh and fantastic. One of the catchiest songs, ‘Is she queer or just a hipster’ will be an earworm for the foreseeable future. The conversations being raised are important, but are dealt with deftly and lightly.

Much of what works is thanks to the tightly written script, by Rachael Mailer, and the dynamic directing of Tara Noonan (as well as musical director Cerys McKenna). For the right audience, this play is liberating and relatable, perfectly articulating many people’s lived experience. It is also very funny. Strangely, if it were just the songs, and had less of a plot, it might even be stronger. There is a romantic plot shoehorned in, which doesn’t have time to develop, so comes a bit out of the blue. The characters are kept, on the whole, as tropes, to sum up different experiences. But it is fresh, and very funny. For several of the creative team, and cast, it is their theatre debut, and for a first foray, it is very strong.

The set is a bold, but simple, living room arrangement. Colourful bean bags, cushions and a sofa, which the three women slouch around on, pop up dramatically from behind. The lighting (Billy Highfield) is great fun, changing based on each song’s energy.

This show is bursting with catchy tunes, and tongue in cheek, very real commentary on the young queer female experience. It is a delight to watch, and a testament of the exciting new queer theatre that the King’s Head is showcasing.

 

Reviewed on 17th July 2023

by Auriol Reddaway

 

Previously reviewed at this venue:

 

The Black Cat | ★★★★★ | March 2023
The Manny | ★★★ | January 2023
Fame Whore | ★★★ | October 2022
The Drought | ★★★ | September 2022
Brawn | ★★ | August 2022
La Bohème | ★★★½ | May 2022
Freud’s Last Session | ★★★★ | January 2022
Beowulf: An Epic Panto | ★★★★ | November 2021
Tender Napalm | ★★★★★ | October 2021

 

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