Tag Archives: Ellen Cheshire

THE RISE AND FALL OF VINNIE & PAUL

★★★★

The Glitch

THE RISE AND FALL OF VINNIE & PAUL

The Glitch

★★★★

“Both actors possess exceptional singing voices — expressive, versatile, and emotionally charged”

The Rise & Fall of Vinnie & Paul explores one of art history’s most infamous fallouts — the brief but intense period when, in the autumn/winter of 1888, Vincent van Gogh and Paul Gauguin lived and worked side by side in Vincent’s little Yellow House in the South of France. What begins as a shared dream of founding an artists’ colony soon unravels into a tempest of clashing egos, artistic ideals, and personal demons — culminating in Vincent’s self-mutilation and Paul’s abrupt departure.

This 60-minute two-hander rock musical blends fact with imaginative interpretation, propelled by a dynamic score and an unflinching examination of genius, obsession, and collapse.

Max Alexander-Taylor is magnetic and heartbreaking as Vincent, capturing the intensity of a man on the brink, whose passion for art masks deepening psychological instability. Nicholas Carter (Paul) is a perfect counterpoint — more restrained, emotionally torn, quietly simmering with frustration. Their chemistry is electric, veering from camaraderie to confrontation in a heartbeat. Both actors possess exceptional singing voices — expressive, versatile, and emotionally charged, moving effortlessly from delicate vulnerability to raw, soaring power.

Neil Bastian’s music and lyrics are a clear highlight. The score feels contemporary yet rooted in character — a mix of driving rock anthems and hushed, lyrical ballads. The opening number, Sunflower Power, sets a sharply ironic tone: Paul suggests Vincent has a sunflower seed in his brain and warns the audience he’ll be “cutting off his ear by the end of the hour” — a dark, witty line that chillingly foreshadows what’s to come.

This leads into a beautifully observed scene depicting Paul’s arrival in France, marvelling at the brilliance of Vincent’s sun-drenched summer work. In A Fistful of Brushes, the two duet with infectious optimism, declaring “colour is our new religion.” But harmony is short-lived. Paul learns he has sold a painting in Paris — while Vincent remains unsold.

Like a Painter Man reveals Paul’s growing doubts, and his suggestion in Take a Trip to Your Mind that Vincent paint from imagination proves dangerous. Vincent’s mind is not a safe place to linger. In Way Past Midnight, Paul recounts a disturbing nocturnal episode in which Vincent scrawled “I am the Holy Spirit” on the wall — a clear sign he is unravelling. News of Vincent’s brother Theo’s engagement — the man funding their lifestyle — proves the final blow, prompting Paul’s suggestion that their artistic experiment has failed — triggering Vincent’s downward spiral.

The following three numbers — Me and My Friend, Welcome to My Funeral, and Wheatfield with Crows — chart Vincent’s descent into psychosis, his self-mutilation, and eventual suicide, reported two years later in a newspaper Paul reads alone. The show ends with Red is the Colour, a haunting duet that mingles grief with a flicker of hope.

Kirstie Davis’ direction makes sharp use of the intimate studio space. A few simple props — stools, an easel, a trunk — create a shifting world that always feels alive. The tight staging amplifies the claustrophobia of their partnership; when violence erupts, it’s all the more shocking. Lighting is used with precision and symbolism: warm ambers give way to stark, envious greens, and in the climactic moment, a flood of red saturates the stage. Silhouette work adds visual intrigue, suggesting fractured selves and internal ghosts — as if we’re witnessing both the men and their demons.

Ryan Anstey’s sound design lends emotional and psychological texture. Natural sounds — wind, birdsong, rolling waves — gradually give way to something darker. During Vincent’s breakdowns, we hear echoes of voices in his head: his father’s stern religious teachings, inner criticism, mocking judgement.

The Rise & Fall of Vinnie & Paul is a fascinating, emotionally raw, and musically rich new work that — despite being a shortened version of a full-length musical in development — feels remarkably complete. It distils a fraught, complex relationship into something both theatrical and truthful — a vivid exploration of artistic brilliance, mental illness, and the volatile intimacy of creative partnership.



THE RISE AND FALL OF VINNIE & PAUL

The Glitch

Reviewed on 17th April 2025

by Ellen Cheshire

 

 

 

 

 

 

Previously reviewed by Ellen:

KNEES UP! | ★★★ | NEW THEATRE ROYAL | March 2025
RETROGRADE | ★★★★ | APOLLO THEATRE | March 2025
TESS | ★★★★ | NEW THEATRE ROYAL | February 2025
THE NUTCRACKER | ★★ | THEATRE ROYAL BRIGHTON | January 2025
THE PIRATES OF PENZANCE | ★★★½ | CHICHESTER FESTIVAL THEATRE | January 2025
BEAUTY AND THE BEAST | ★★★★ | NEW THEATRE ROYAL | December 2024
REDLANDS | ★★★★ | CHICHESTER FESTIVAL THEATRE | September 2024
BARISTA THE MUSICAL | ★★★ | CAPITOL THEATRE | September 2024
THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024
THE WEYARD SISTERS | ★★ | RIVERSIDE STUDIOS | August 2024

THE RISE AND FALL

THE RISE AND FALL

THE RISE AND FALL

KNEES UP!

★★★

New Theatre Royal Portsmouth

KNEES UP!

New Theatre Royal Portsmouth

★★★

“Portsmouth’s cabaret and drag scene is clearly thriving, and Knees Up! was a glittering celebration of its wild, weird, and wonderful talents”

Knees Up! from queer theatre company Downtown Pompey promised high-energy, over-the-top entertainment – and it delivered. With a line-up bursting with local drag royalty and a headline performance from cabaret icon Joe Black, the show combined camp, kitsch, and a touch of chaos in the best possible way.

The evening opened with a thoughtful surprise: poet and visual artist Majid Dhana appeared in one of the theatre’s boxes to read a witty and reflective poem on creative expression and community. An unexpected but inspired start, it set the stage for a night where anything could happen – and often did.

Bradley Jago took to the stage, beginning what seemed to be a solo rendition of Downtown until the red velvet curtain parted to reveal the Solent Gay Men’s Chorus, kicking off the night with a heart-warming moment.

Hosts The Fabulous Josh and Cherry Liquor set the tone with their anything-can-happen dynamic. Their 16-year friendship gave them licence to fire playful jabs at each other’s dazzling outfits (The Fabulous Josh in a shimmering silver jumpsuit, Cherry Liquor slinking onto the stage in a sequined dress) and drag acts. While some scripted jokes didn’t quite land, their off-the-cuff banter crackled with energy. Taking inspiration from Saturday night telly, the duo reminisced about old game and talent shows before settling onto a sofa – alongside The Fabulous Josh’s mother-in-law and mum – to watch the evening’s acts unfold. The line-up featured a mix of established and emerging artists, the latter nurtured through Downtown Pompey’s Arts Council-funded community work.

Nathan Shay, one of the emerging talents, stepped into the spotlight as a Pierrot-style mime, performing to a spoken-word track before transitioning into a dramatic lip-sync. As they shed elements of their costume, they theatrically removed their “heart” and “entrails,” handing them to the mothers on the sofa before revealing a striking bodysuit adorned with muscles and bones. Kirsty Mitchell, another emerging artist, is a support worker by day and comedian by night. In the second half, she delivered an entertaining stand-up set drawing on experiences of addiction, sobriety, working-class life, and, of course, Pompey. Her sharp observations and natural comedic timing won over the audience.

The evening featured two stylish lip-syncing drag acts, each bringing its own distinct flair. Cherry Liquor captivated the audience with a cheeky double bill of performances, including a playful rendition of Tropical Heatwave, exuding a Marilyn Monroe-inspired allure. Adding to the spectacle, Portsmouth-based drag artist Azure Thang and the Synchettes, a quartet of dancers, infused the night with a mix of comedic slapstick and polished choreography. Meanwhile, Tayris Mongardi, the self-proclaimed Powerhouse of Colour and queen of Afro-punk camp, dazzled in silver, delivering a high-energy set that seamlessly blended dance and lip-sync artistry.

Beyond drag, Knees Up! showcased a diverse range of performances from Portsmouth’s vibrant arts community. The Portsmouth Chinese Dancing Group brought elegance and tradition with their three beautifully executed numbers. The Solent Gay Men’s Chorus opened the second act with a medley featuring The Rocky Horror Picture Show, the Spice Girls’ Spice Up Your Life, Madonna’s Like a Prayer, Radiohead’s Creep, and Kylie Minogue’s Your Disco Needs You. Spanning generations, their enthusiasm and choreography made them a joy to watch.

Joe Black’s headline performance, closing the first half, was the undisputed highlight of the evening. A true Portsmouth original, he was a local character long before his cabaret fame, recalling how he once strolled the streets with his cat in tow. His signature mix of vaudeville, musical comedy, and devilish wit had the audience in stitches. He delivered hauntingly hilarious renditions of Spice Up Your Life and When I’m Cleaning Windows, re-imagined in the style of Mack the Knife in a 1920s Weimar nightclub – equal parts macabre and magnificent. His tale of an ill-fated Halloween gig in a Newcastle nightclub, where he was not what the crowd expected, was a comedic standout, culminating in a dramatic recreation of the moment he “wished he was dead,” performing Marlene Dietrich’s Falling in Love Again, complete with DJ sound effects from the night. He rounded off his set with a deliciously demented send-up of Edith Piaf’s Je Ne Regrette Rien with Bill Burnett’s I Regret Everything.

The show ended on a high with a grand finale, as The Fabulous Josh and Cherry Liquor showcased their vocal talents and comedic timing, leading the Synchettes, Azure Thang, and Tayris Mongardi in a rousing rendition of Hey Big Spender from Sweet Charity.

While the show revelled in its chaotic, anything-goes spirit, some shifts in style and tone between acts felt uneven, and at over three hours, the energy occasionally dipped. However, Knees Up! never lost its sense of fun, with an audience more than willing to embrace the ride. Portsmouth’s cabaret and drag scene is clearly thriving, and Knees Up! was a glittering celebration of its wild, weird, and wonderful talents.



KNEES UP!

New Theatre Royal Portsmouth

Reviewed on 22nd March 2025

by Ellen Cheshire

 

 


 

 

Previously reviewed at this venue:

BEAUTY AND THE BEAST | ★★★★ | December 2024

KNEES UP!

KNEES UP!

KNEES UP!