Tag Archives: Ian Hallard

Snow White in the Seven Months of Lockdown



Snow White in the Seven Months of Lockdown

Snow White in the Seven Months of Lockdown

Online via www.kingsheadtheatre.com

Reviewed – 14th December 2020



“The talent on display longs to break out of the small screen and take to the stage again”


“Mirror mirror on the wall…” begins the Wicked Queen in familiar, heightened, camped up, Disney tones. The mirror is cracked and voiced by the inimitable comedy couple Mark Gatiss and Ian Hallard, so any resemblance to the usual Snow-White tale is thrown out of the window for the next hour. The Queen brushes aside the pleasantries about who might be the fairest in the land; she wants to know how best to claw back all that money from furlough that she doled out throughout the year.

And so, the tone is set. But this is more than a mere retelling of Snow White with clever references to Lockdown, as the title might suggest. Last Christmas Charles Court Opera took the Nativity story and turned it completely on its head to joyful and triumphant effect. This year they have been forced to work behind closed doors, but their boundless, chaotic imaginations have not been restrained in the least and again, they have created a unique show dressed up in their distinctive style. It is difficult to continue this review without spoilers. But then again, I could probably describe the plot in detail for you and you’d still be none the wiser.

Snow White is a man in a frock, widow to the late, great King of Soul, Barry White. See what I mean? The Prince of Pretzel (aka Larry) wants to marry Snow White, but his valet Harry reminds him that she is a commoner and therefore beneath him. The Wicked Queen has other plans entirely. The seven dwarves are renamed due to Disney copyright. The poisoned apple is a box of Turkish Delight (or is it a bomb? Or a Pie?). When Larry and Harry meet Gary (the plumber, or could it be the Wicked Queen in disguise…?) things hot up. The jokes and innuendos are the only elements of predictability in this otherwise surreal and riotous romp through Fairyland. There is a family version or an adult version to choose from before you watch, though I suspect there is little difference between the two. A few profanities aside, it is soft-core enough to sit either side of the watershed. The enjoyment and the subversive sense of humour derives from the twists in the Pythonesque narrative, but above all in the performances of the company’s members.

Jennie Jacobs cuts a dusky figure as the Wicked Queen; an inspired cross between Penelope Keith and Cruella de Ville. John Savournin’s Snow White channels David Walliams in drag; but better. Savounin makes the character truly his own with a finely honed, deadpan self-deprecation. Like the rest of the cast, Emily Cairns as the Prince and Meriel Cunningham as the side-kick valet who turns into a toad, trailblaze through the show with expert comic timing and spot-on characterisation. And then there is Matthew Kellett, who has the job of playing the seven dwarves. His versatility borders on insane, especially when he delivers an Elton John pastiche, singing to his own corpse at the funeral of ‘Half Baked’ the dwarf. Indeed, the musical moments stand out. Each member of the cast, along with the chorus, is in fine voice. David Eaton’s lyrics are as inventive and topical as ever, pasted onto parodies that plunder popular culture. The highlight of the show has to be a brilliant ensemble mash up that, within a mere two and a half minutes, packs in The Beatles, A-Ha, Village people, Oasis and ‘Les Misérables’ among others.

The comic references, particularly to the pandemic, never hamper the action, which trundles towards a neat, morally strewn conclusion during which we are advised not to hide the power of “lurve” by Barry White himself (uncannily voiced by Marcus Fraser) from behind an animated cloud. We could almost be in Terry Gilliam territory.

Occasionally, though, the team’s ambitions outstretch them. The interactive elements, whereby we can select an option on the screen to determine the course of the action stall the flow. The teething problems inherent in the technology occasionally set us adrift. But once back on board we are again swept along. It is a shame, though, that we are not witnessing this show live. The talent on display longs to break out of the small screen and take to the stage again. But if this year’s offering is anything to go by, I can’t wait to see what they come up with next Christmas when, surely by then, we’ll all be back in a sold-out auditorium – which is what they deserve.


Reviewed by Jonathan Evans

Photography by  Ali Wright



Snow White in the Seven Months of Lockdown

Available to stream until 31st December from www.kingsheadtheatre.com


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Soho Theatre



Soho Theatre

Reviewed – 18th April 2019



“it grips its audience immediately and has us on the edge of our seats”


It’s a Saturday night in April and Anthony is in a flat with eight or so other men that he doesn’t remember the names of. They have been going for eighteen hours – they’re high but not as high as they’ll be by the 36th hour or the 72nd. The twenty minute taxi ride to this flat was enough to start the sound in Anthony’s head, a sound that begins with ticking and then overwhelms. This is what he takes the drugs for to stop hearing. Also to feel his body moving from bone to cartilage. But tonight’s trip holds a surprise. The ghost of George, a young man and former flame of Anthony’s walks across his vision. His body was found the day before on the Tumulus, Hampstead Heath. The police said it was an overdose, that it isn’t even worth investigating. George, in ghost form, tells Anthony he has been murdered. George makes a deal with Anthony. Find my necklace and with it the killer, and I’ll stop the sound in your head. So our thriller begins.

The narrative, written by Christopher Adams, is funny at times, darkly awful at others. The thriller genre is a really original way to investigate the dark underside of the gay chemsex culture, and the dismissive police response to the death of young gay men in a society riddled with homophobia.

Ciaran Owens delivers a strong and convincing Anthony, playful and desperate and driven by something beyond his control. He is joined by Ian Hallard and Harry Lister Smith who create the many characters Anthony meets along his journey. Lister Smith embodies the young boys who go from lovers to victims, and Hallard competently alternates between cheery dog walkers, sinister villains and therapists, all ably directed by Matt Steinberg.

Both Hallard and Lister Smith, in their various guises, wear microphones that echo and distort their voices and lend them a disconcerting plurality. They create a soundscape of audio through objects held against microphones, reminiscent of a radio play made visible (sound design by Nick Manning). Set design (Alison Neighbour) is simple and effective, and Anthony paints the picture for us, making the table and cabinets chameleons in the space.

It isn’t a perfect production – there are moments that feel clumsy and unpolished – but it grips its audience immediately and has us on the edge of our seats, rooting for Anthony’s mission and, in turn, for George and the queer men, murdered but dismissed by the police, that he represents.

Reviewed by Amelia Brown

Photography by Darren Bell



Soho Theatre until 4th May


Last ten shows reviewed at this venue:
Pickle Jar | ★★★★★ | October 2018
Cuckoo | ★★★ | November 2018
Chasing Bono | ★★★★ | December 2018
Laura | ★★★½ | December 2018
No Show | ★★★★ | January 2019
Garrett Millerick: Sunflower | ★★★★ | February 2019
Soft Animals | ★★★★ | February 2019
Angry Alan | ★★★★ | March 2019
Mouthpiece | ★★★ | April 2019
William Andrews: Willy | ★★★★★ | April 2019


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