Tag Archives: Emma Davies

HOW TO SURVIVE YOUR MOTHER

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King’s Head Theatre

HOW TO SURVIVE YOUR MOTHER at the King’s Head Theatre

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“there are some lovely moments, and some laudable dialogue between Maitland and his wife”

How to Survive Your Mother is the newest play from playwright and former journalist Jonathan Maitland, dramatising the work of his 2007 memoir of the same name. Working with director Oliver Dawe, this play explores Maitland’s relationship with his mother, throughout his childhood and early adulthood, as she hot desks her way through different men, and opens up Britain’s first ever gay hotel (this definitely didn’t get enough attention).

Whilst the piece is strewn with moments of humour and astute observation, it was let down by a distinct lack of theatrical action. And by this, I mean a narrative arc; a dramatic structure; a climactic rise and fall, punctuated by catharsis. A play needn’t be a tragedy to necessitate such structures. Perhaps Maitland is jarred by his journalistic instincts, veering into the realm of witty and engaging reporting, but at the expense of theatrical flow. Thus, in lacking direction, the play also lacked pace, making the 90 minutes – sans interval – drag somewhat.

The work lacked that je ne sais quoi that electrifies theatre into life. It felt more like a loose montage of memories of Maitland’s mother’s outrageous displays of narcissism and abuse, than a constructed account of his mother and their relationship. So perhaps, actually, I do sais quoi, and it is the pressing lack of a coherent narrative.

Whilst both play and staging did feel overly busy at times, the set design (Louie Whitemore) and use of props were accomplished and inventive. I especially enjoyed a birthday cake’s transformation into a steering wheel, and shortly after, an airbag.

Within the small cast, majority were multi-rolling, and excellently so, interspersing humour and subtlety into their every character. Personally and perhaps unfairly, I have a long-held vendetta against child actors, and the inclusion of a child (Brodie Edwards and Howard Webb, alternately) in this play did not help to dispel my prejudice.

Maitland has his own role on stage: he appears as himself in the present day action, addressing the audience, and sometimes his wife. At other times, he just circles the stage, or plops himself down in the audience for long stretches. Whilst his self-effacing commentary on both this choice and his lack of acting ability is amusing – and fascinating on a meta-theatrical level – it undermines the dramatic action, detracting focus from the scene itself.

The play, as one would assume, revolves around Maitland’s mother. And whilst he does point out that he has written β€˜a play, not a diagnosis’, his mother dabbles in all sorts of textbook narcissism. The problem with narcissists, though, is that they often straddle charisma and malice simultaneously (PSA: I’m not a psychiatrist). The problem with the portrayal here is that, as effervescent as Emma Davies is, Maitland’s mother is consistently selfish, nasty, and completely objectionable. And with the absence of a narrative arc compelling us to her, it’s hard to develop a strong enough interest in both her and her relationship with her son.

It is the lack of coherence and narrative that lets this play down. Despite this, there are some lovely moments, and some laudable dialogue between Maitland and his wife, largely deliberating on the nature of The Female Middle Age Crisis to Trained Therapist pipeline.

Oedipus did a great job of sparking our collective obsession with mother-son relationships, and Maitland’s new play is an interesting addition. But Oedipus also excelled in its very story, without which there is little appeal. How to Survive your Mother, whilst entertaining, needs this appeal if it is to also be affecting.


HOW TO SURVIVE YOUR MOTHER at the King’s Head Theatre

Reviewed on 28th October 2024

by Violet Howson

Photography by Charles Flint

 

 

 

 

 

 

 

Previously reviewed at this venue:

TWO COME HOME | β˜…β˜…β˜…β˜…β˜… | August 2024
THE PINK LIST | β˜…β˜…β˜…β˜… | August 2024
ENG-ER-LAND | β˜…β˜…β˜… | July 2024
DIVA: LIVE FROM HELL! | β˜…β˜…β˜…β˜… | June 2024
BEATS | β˜…β˜…β˜… | April 2024
BREEDING | β˜…β˜…β˜…β˜… | March 2024
TURNING THE SCREW | β˜…β˜…β˜…β˜… | February 2024
EXHIBITIONISTS | β˜…β˜… | January 2024
DIARY OF A GAY DISASTER | β˜…β˜…β˜…β˜… | July 2023
THE BLACK CAT | β˜…β˜…β˜…β˜…β˜… | March 2023
THE MANNY | β˜…β˜…β˜… | January 2023
FAME WHORE | β˜…β˜…β˜… | October 2022

HOW TO SURVIVE YOUR MOTHER

HOW TO SURVIVE YOUR MOTHER

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The Last Temptation of Boris Johnson

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Theatre Royal Windsor & UK Tour

The Last Temptation of Boris Johnson

The Last Temptation of Boris Johnson

Theatre Royal Windsor

Reviewed – 10th February 2020

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“The wit may be less caustic than some Remainers might think BoJo deserves, but this is an entertaining and fast-moving send-up”

 

Now that we apparently have β€˜got Brexit done’ is there an appetite for satirical comedy about Boris’ route up the well-greased political pole? Jonathan Maitland’s β€˜The Last Temptation of Boris Johnson’ provides an evening of good-natured political satire that breezes merrily along to a surprise ending that literally brings the house down.

The play opens at the by now infamous Islington dinner party at which Boris has to decide if he (and as it turns out, the United Kingdom) is in or out. He’s haunted by some ghastly spectres from the political past, including a funny impersonation of Tony Blair by Tim Wallers and an unlikely appearance by Margaret Thatcher which takes the line out of the Johnsonian catchphrase about oven-ready politics.

Will Barton is a fine shoe-in for BoJo, looking and sounding pretty much like him, complete with an instantly recognisable shambling swagger and a finely honed repertoire of hair-ruffling gestures. The dinner guests are Michael Gove (Bill Champion’s somewhat kindly impersonation), the Evening Standard’s owner, name-dropping Evgeny Lebedev (Tim Wallers) and their politically savvy partners (Emma Davies and Claire Lichie). All four give very spritely performances, with two other roles each.

Playwright Maitland shouts that Boris Johnson cares only for what’s good for him, not the country. When Johnson plumps for Leave, Johnson is briefly lit as the Messiah, in a less than subtle reference to the play’s title. The result of the 2016 referendum is a ghastly surprise to Boris whose apparently career-enhancing manoeuvre has gone horribly wrong. But that’s politics. The second half of the play takes on a darker tone as it imagines Britain in 2029. Can Alexa be trusted when she says the US-sourced lamb is organic? And just what does Amazon BBC News make of Boris now?

After some amusing speculations about our national future, the piece comes to a satisfying conclusion. The wit may be less caustic than some Remainers might think BoJo deserves, but this is an entertaining and fast-moving send-up, not polemic. A national tour continues to Newcastle, Guildford, Salford and Eastbourne until March 14th.

 

Reviewed by David Woodward

Photography by Pamela Raith

 


The Last Temptation of Boris Johnson

Theatre Royal Windsor until 15th February then UK tour continues

 

Previously reviewed at this venue:
The Trials Of Oscar Wilde | β˜…β˜…β˜…β˜… | March 2019
Octopus Soup! | β˜…β˜…Β½ | April 2019
The Mousetrap | β˜…β˜…β˜…β˜… | October 2019
The Nutcracker | β˜…β˜…β˜…β˜… | November 2019
What’s In A Name? | β˜…β˜…β˜…β˜… | November 2019
Ten Times Table | β˜…β˜…β˜…β˜… | January 2020

 

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