★★

“For the most part, the play paddles in the shallow waters of caricature and stereotype”

The King’s Head was the UK’s oldest pub theatre when it closed its doors last August. Less than six months later – though years in the planning – the doors reopen to the new purpose-built space. The site is steeped in theatrical history, and many of us stepping through the doors on opening night for the inaugural production carry fond memories or have personal connections with the old space. The spirit of many great names in British theatre still lingers, some of them now ghosts. Watching perhaps. We can only speculate as the evidence is whitewashed over, and little remains, despite directly connecting to the old dressing room. None of the atmosphere has crossed the threshold. No memorabilia. No link to its colourful history. No echoes from the past. Nevertheless, as we descend the stairwells down to the subterranean black box, the anticipation is palpable.

“Exhibitionists” is an apt play to open the first season. In line with the LGBTQ+ leanings the venue has adopted over the years, it also harks back to a romantic golden age of twentieth century theatre. In their programme notes, writers Shaun McKenna and Andrew Van Sickle, reference Terence Rattigan and Alan Ayckbourn, while also drawing parallels with the screwball wit of Hollywood’s Charles Lederer. Bizarrely no mention is made of Noël Coward, even though the plot of “Exhibitionists” is lifted, lock, stock, and barrel from Coward’s thirties comedy of manners, ‘Private Lives’. Almost. Except it lacks the manners, or Coward’s mastery of the language. The subversiveness of Coward’s sexual identity was reflected in his plays – particularly ‘Private Lives’ – but as well as being a closet gay play, it is a classic that maintains universal appeal. “Exhibitionists” is overt, brash and blatant, but its focus is much too narrow.

Set in the San Francisco art world, Conor (Ashley D Gayle) and Robbie (Robert Rees) are living separate lives having split from their volatile, open relationship years previously. They both now have new, younger partners. Conor is with upcoming film-maker Mal (Jake Mitchell-Jones) while Robbie has hooked up with the heteroflexible Rayyan (Rolando Montecalvo). The two couples stumble upon one another at an art exhibition. The exes reunite, reignite and relocate swiftly to a nearby motel run by the implausibly eager Sebastian (Øystein Lode) with the new partners in hot pursuit. Squabbles and sex alternate as the farce unravels.

“The performers do well to counteract the faithless writing but cannot escape the cartoon landscape in which they are trapped”

The premise is predictable and, for all its profanity, not at all subversive. For the most part, the play paddles in the shallow waters of caricature and stereotype. Which is surprising, but also unsettling in that it seems to be unwittingly marginalising the culture it represents. There is little sense of celebration. The in-jokes jar, as though written by an outsider looking in, which renders the piece exclusive, eradicating its wider appeal in one foul swoop. Meanwhile, promiscuity and predatory behaviour are promoted in a way that, if presented in any other environment, would be condemned.

The performers do well to counteract the faithless writing but cannot escape the cartoon landscape in which they are trapped. Bronagh Lagan’s direction moves the action snappily, encumbered however by superfluous entrances and exits (which become as repetitive as the dialogue); and more so by the poor sightlines created by the venue’s raked seating.

“Exhibitionists” is a rather unsubtle revival of a delicately intelligent original. A poor man’s Coward. For half a century the King’s Head has paved the way for pub theatre. The previously shabby auditorium has attracted top writers, directors and actors throughout its eclectic and eccentric history. The atmosphere hasn’t crossed over to the new venue, and the opening show is not one to draw it in. The ghosts will want a new space to haunt. Let us hope the audiences don’t follow them because, with time on its side, the King’s Head will recapture its soul, and our hearts.

FLOWERS FOR MRS HARRIS at the Riverside Studios

★★★★

“Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming”

It takes its time, but the moment the curtain comes down on Mrs Harris you’ll be purring like the cat who has had more than its fair share of cream. As she stands centre stage with the memory of her late husband, we realise that the gaping hole in her heart has been filled, in the same way that ours are overflowing with warmth, born of the simple acts of kindness, love and selfless compassion. When Paul Gallico’s the novella – “Flowers for Mrs Harris” – was first published in 1958 its dust jacket read; ‘This is, if you like, a fairy tale. But of its enchantment, humour and pathos there can be no doubt… it will be loved for many years to come’.

Similar words would not be out of place in the programme notes for Richard Taylor’s and Rachel Wagstaff’s musical. Set in London during the 1950s, Ada Harris (or ‘Arris as she would say) is a hard-working cleaning lady whose clients range from eligible bachelors and society women to actresses. While cleaning for Lady Dant, Mrs Harris opens a wardrobe to discover an Haute Couture Dior dress. Enamoured and overwhelmed, she decides then and there that she will have one of her own. After a modest Football Pools win and two-and-a-half years of scrimping, her desire is achievable.

But this is never really about the dress. It is all about the human spirit. Ada Harris’ journey to Paris and back is not a material voyage, nor even a pilgrimage. It is a personal quest – of triumph over adversity and the discovery of qualities we all seek and do in fact possess if we look hard enough. This is very much brought out in Bronagh Lagan’s tender revival of the musical. Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming. Old school charm is the name of the game here. Russell’s performance is a delicacy whose rich flavours linger long after curtain call.

“a sumptuous production, with Richard Taylor’s lush score eking out every emotion”

It is a quality that is shared by the whole company. While Russell is the main thread, the ensemble double up as characters from Ada Harris’ London life and also their French counterparts in Paris. There is almost a ‘Wizard of Oz’ aspect to this parallel world where the characters are distinct yet recognisable. Hal Fowler is magnificent as the reassuring ghost of Ada’s late husband, later appearing as the widowed French Marquis who finds common ground with Ada’s yearning humour. Charlotte Kennedy is truly watchable as the London based aspiring actress and the disillusioned Parisian model. It seems unfair not to be able to list them all, but mention must go to Nathanael Campbell as Bob the lovesick, shy accountant whose character is mirrored in Paris by André who finds love courtesy of Ada’s spirited intervention. Annie Wensak gives a colourfully nuanced performance as Ada’s best friend, fellow char lady and next-door neighbour Violet.

Kelly Price is the deliciously haughty yet compassionate Lady Dant, whose dress sparks off the whole story. As Madame Colbert, the troubled manager at the House of Dior, her performance is as polished as the House of Dior itself. Initially snubbing the unwelcome Ada, she and other Parisian personalities swiftly come under the spell of Ada and her magic wand. If anything, though, it is too quick and easy and the transformation of the staff at the fashion house a little hurried, which stands out in an otherwise slow-burning narrative. But it is a sumptuous production, with Richard Taylor’s lush score eking out every emotion. Seamlessly weaving in and out of the dialogue it is the essential flow that keeps the characters’ hearts beating.

Yes, this is ‘if you like, a fairy tale’. And we are in no doubt about its enchantment. A touch sentimental and safe maybe, but the warmest and most comforting antidote you could find for the oncoming autumnal evenings. Oh, and a hidden star of the show that can’t be avoided: Sara Perks’ costumes would walk proud on any Parisian catwalk*.

*The Dior gowns in the show were kindly loaned by Lez Brotherston from the original production

EXHIBITIONISTS at the King’s Head Theatre

★★

“For the most part, the play paddles in the shallow waters of caricature and stereotype”

“The performers do well to counteract the faithless writing but cannot escape the cartoon landscape in which they are trapped”

EXHIBITIONISTS at the King’s Head Theatre

Reviewed on 8th January 2024

by Jonathan Evans

Photography by Geraint Lewis

Previously reviewed at this venue:

EXHIBITIONISTS

EXHIBITIONISTS

FLOWERS FOR MRS HARRIS at the Riverside Studios

★★★★

“Jenna Russell slips into the title role as though it was tailor made for her, giving a performance that is as strong as it appears unassuming”

“a sumptuous production, with Richard Taylor’s lush score eking out every emotion”