Camden People's Theatre Archives - Page 7 of 14

The Indecent Musings Of Miss Doncaster 2007

Lion and Unicorn Theatre

Reviewed – 10th August 2019

★★★½

“Some lines are stellar but the occasional too-easy joke could be lost without ill effect”

2007 was a big year. The first iPhone hit the shelves, as did the last Harry Potter book. We got Gordon Brown as PM. And, in Doncaster, our ‘Miss Donny’ is crowned Miss Doncaster, with the sash and tiara to prove it. A starry start indeed – but The Indecent Musings of Miss Doncaster 2007 shows what happens next. And, spoiler alert: this is where the glamour ends.

The one-hander, written and performed by Annabel York, spans confessional, spoken word and stand-up, and although just how biographical it is isn’t clear, it’s hard not to see it as intimate. Staging (design by Elle Loudon) supports this; lighting and choreography are exceptional. The sound design (Jacob Welsh) is terrific; scenes of Donny dancing work brilliantly, with clever and thoughtful music choices and just the odd scene where the sound levels are awry and we struggle to follow York’s quickfire delivery.

Sound effects are also strong. The gentle hiss and suck of Donny’s father’s ventilator in the quieter moments she spends beside him (and the staggering silence that follows once it’s turned off) are particularly poignant. Given that the use of props is almost non-existent, effects do the hard yards in giving us a sense of place.

In the same vein, Rebecca Loudon’s skill in direction is clear, especially in the detail that sets up each scene – the clever little adjustments to the office chair height that tell us that Donny is once again slouched at the desk at her ghastly office job, for example.

Naturally in any solo show all eyes are on the performer, and the clearly-talented York doesn’t disappoint. Primarily a comic piece, almost all scenes are played for laughs. This is perhaps a shame, as York’s excellent and nuanced acting gets a fuller airing in the few emotionally-charged scenes. Make no mistake, though – York is incredibly funny, and throws herself around to terrific effect. We’re introduced to a cast of characters through her, not least the pageant queen persona, Miss Doncaster 2007, herself.

Garbed in the full regalia of evening gown, pink sash and twinkly crown, it’s this version of Donny that opens and closes the production. This deadens the night’s impact just a little; the opening scene is one of the weakest of all and the all-smiles characterisation of Donny’s showbiz embodiment is less affecting and harder to like. After the journey Donny has gone on, it feels reductive, too, to return to the crown and fixed grins at the end.

Generally, the whirlwind of Donny’s chaotic life can risk feeling a bit one-note; exploration of the emotional impact of some of her fraught sexual encounters, for example, including ones where her dates’ behaviours are downright abusive, is lacking. These disastrous, drunken dates are suggestive of Donny’s vulnerability but that gets lost when they’re unrelentingly played for laughs. This is a pity, as a message about female fragility and strength is suggested throughout (it can’t be an accident that empowering tracks by feminist superstars Lizzo and Janelle Monáe feature).

Scripting could also stand to be just a touch tighter. Some lines are stellar but the occasional too-easy joke (‘I call a spade a spade… unless it’s a shovel’) could be lost without ill effect, and a little more light and dark introduced into those more frenetically active scenes.

Raw emotion does come, though, as we see grief take over from nights out on the town, and it’s here that the performance really sings. Our Donny may not be the darling of Doncaster, crown and all, any more. But a new kind of stardom may just beckon – and she’ll be ready.

Reviewed by Abi Davies

The Indecent Musings Of Miss Doncaster 2007

Camden People’s Theatre until 10th August as part of Camden Fringe 2019

Last ten shows reviewed at this venue:

The Absolute Truth About Absolutely Everything | ★★★ | May 2018

A Fortunate Man | ★★★½ | June 2018

Le Misanthrope | ★★½ | June 2018

Did it Hurt? | ★★★ | August 2018

Hot Flushes – The Musical | ★★★ | June 2019

Click here to see more of our latest reviews on thespyinthestalls.com

★★★

“has potential, but it didn’t quite pack the punch I expected it to”

Camden People’s Theatre is currently presenting a series of plays as part of their “Calm Down Dear” season. This is a three week festival of “innovative female performance”.

Hot Flushes is Documental Theatre’s offering to the festival. Written by Lucy Bell and directed by Anita Parry, the show is centred around Sandra (Michelle Ridings), a sixty year old woman who falls victim to department store BHS going bust. Not only has she lost a job she’s had for decades, but she’s also being denied her pension. Understandably angry, a chance encounter with Patsy (Katy Sobey), a ballsy member of the National Rifle Association, leads Sandra to believe she can take matters into her own hands.

There are four performers on a stage that is simply set with two clothes rails on either side. Three of the performers play instruments to accompany the original songs (Charlie Coldfield & Thomas Johnson) scattered throughout. The musical elements are generally well done and there are nice harmonies in some of the songs, although the show could benefit from more polished vocals overall. Katy Sobey is by far the standout performer vocally and shows versatility through playing Sandra’s twenty-one year old daughter, Jolene, as well as NRA member, Patsy. She also brings some of the songs to life with her skill as a saxophonist.

In terms of Hot Flush’s concept, Documental Theatre has chosen well. There is a good level of normality, which audiences should be able to relate to. The show explores family dynamics, mother/daughter relationships and the strains that these can come under, inequalities, and caring for an infirm family member, as Sandra does with her husband.

At times, I did find it hard to engage and felt some of the songs came a bit out of nowhere. There are also some over the top moments that perhaps go a bit too far, but this could be seen as a display of the heightened emotions and fantasies of a sixty year old woman at the end of her tether. Hot Flushes has potential, but it didn’t quite pack the punch I expected it to. There are some good ideas and performances, so it would be interesting to see if the show develops further in the future.

Reviewed by Emily K Neal