Tag Archives: Ilan Galkoff

FAYGELE

★★★★★

Marylebone Theatre

FAYGELE

Marylebone Theatre

★★★★★

“allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing”

Faygele is a powerful and moving theatrical piece written by Shimmy Braun and directed with sensitivity by Hannah Chissick. It’s a work that gives voice to those so often left unheard – particularly queer individuals navigating faith, family, and identity.

From the opening moment, the production draws you in with a cleverly designed stage (David Shields) where the actors not only perform, but move the set around them, symbolising the constant shifting of roles and expectations. At the centre of the story is Ari Freed, a young gay man growing up in an Orthodox Jewish family. Ilan Galkoff plays Ari with honesty and vulnerability, instantly capturing the audience’s attention. His portrayal offers a deeply personal look into what it means to grow up queer in a religious world that doesn’t always have space for difference.

Clara Francis brings complexity to the role of Mrs. Freed, Ari’s mother. She is caught between her love for her son and her desire to keep the family together in a community that clings to tradition. Her performance reflects the silent emotional labour so many mothers endure when trying to bridge impossible gaps. Ben Caplan, as Dr. Freed – the father – gives a gripping performance as a man torn between faith, pride, and fear. His internal conflict is portrayed with intensity, especially as he wrestles with the idea that his son’s identity could bring shanda (disgrace) upon the family.

A standout performance also comes from Andrew Paul as Rabbi Lev, who is perhaps the most quietly revolutionary character. Instead of condemning, he listens. He reflects. He questions. Through his character, the play asks whether faith can grow, evolve, and hold space for queerness without losing its roots. His attempt to guide the family with compassion rather than judgment adds a hopeful thread to the story.

What makes Faygele so impactful is its ability to speak across identities. You don’t need to be Jewish to feel the emotional weight of tradition, nor do you need to be LGBTQ+ to understand what it means to be silenced, othered, or misunderstood. The play confronts difficult topics homosexuality, mental health, and generational trauma with courage and care. Words like “suicide” and “shame” are not hidden here, they’re spoken, embodied, and honoured in a way that invites dialogue rather than silence.

In a time when we often talk about inclusivity but struggle to practise it, Faygele does something rare: it listens deeply. It allows us into a world that may be unfamiliar, and makes space for connection, truth, and healing. For anyone interested in queer stories, Jewish representation, or simply great theatre, Faygele is more than a play, it’s a must see.



FAYGELE

Marylebone Theatre

Reviewed on 6th May 2025

by Beatrice Morandi

Photography by Jane Hobson

 

 


 

 

 

Previously reviewed at this venue:

WHITE ROSE | ★★ | March 2025
WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK | ★★★★ | October 2024
THE GOVERNMENT INSPECTOR | ★★★★ | May 2024
THE DREAM OF A RIDICULOUS MAN | ★★★★ | March 2024
A SHERLOCK CAROL | ★★★★ | November 2023
THE DRY HOUSE | ★★½ | April 2023

 

 

FAYGELE

FAYGELE

FAYGELE

Backstairs Billy

Backstairs Billy

★★★★

Duke of York’s Theatre

BACKSTAIRS BILLY at the Duke of York’s Theatre

★★★★

Backstairs Billy

“Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated”

William Tallon started writing letters to the Royal Household, asking for work, when he was aged ten. His dream was achieved five years later, in 1951, when he was invited to Easter Court at Windsor, then Buckingham Palace. After the death of King George VI, he followed Queen Elizabeth the Queen Mother to Clarence House, where he remained until her death in 2002. During his time, he earned the nickname “Backstairs Billy”, having risen to the position of ‘Page of the Backstairs’. His service and devotion have seeped into popular culture, spawning a Channel 4 documentary two years after his own death, and now Marcelo Dos Santos’ new play in the West End.

Set at the end of the 1970s, Michael Grandage’s production comes dressed as a gentle comedy – almost a farce – but has an extra-strong kick to it beneath the surface. Much like the cocktails Billy serves to The Queen Mother’s guests; all sweet cordial yet with a hidden punch that takes you by surprise. We meet Billy (Luke Evans) presiding over the Household staff, like a virtuoso conductor, as they prepare for one of Ma’am’s receptions in the Garden Room of Clarence House. Immediately we latch on to his irrepressible and subversive irreverence, matched by his unfailing loyalty. We can see why he has earned his privileges, and the special place he holds in the Queen Mother’s heart. Evans’ performance is majestic in itself – flamboyant, teasing and mischievous, yet complicated. Much comedy is drawn from his relationship with other members of the staff, particularly the rivalry with Mr Kerr (Ian Drysdale) the officious killjoy bent on driving Billy out.

“a gorgeously entertaining and traditional piece of theatre”

The Queen Mother was traditionally (allegedly) quarter of an hour late for her ‘at-homes’. It is the same amount of time before Penelope Wilton’s queenly entrance. Immediately in command, Wilton has grasped the hidden essence of the Queen Mother’s character and philosophy. It has often been said that when people met her, she did her best to make them go away feeling better. There is a glint in Wilton’s eye and an infectious smile that matches Evans’ naughtiness. The dynamic between Wilton and Evans is a true delight to watch. Yes, they may be an odd couple, and the Royal etiquette may be stretched a bit, but it is a totally believable friendship that works well on stage. Dos Santos’ script is packed full of one liners that poke fun at all levels of society. A strong supporting cast play various guests, whose comedic flare reminds us of the colourful and eccentric characters who populated Fawlty Towers.

The second act wanders into all out farce. Billy was (allegedly – again) known for bringing his gay lovers back to Clarence House after dark. In the play, one such ‘pick up’ was black artist (Eloka Ivo) who leaves behind his latest sculpture, a large black phallus, which inevitably rears its head the following day. Ivo displays a comic genius as he is mistakenly passed off as a Prince of Lesotho when he returns to collect his ‘artwork’. We are now in Joe Orton territory, but we are keen to be steered back to the central couple. When we are, it is in the aftermath of this scandal that threatens Billy’s position. A slightly jarring moment during which the Queen Mother tests Billy’s loyalty almost sadistically.

But overall, it is a gorgeously entertaining and traditional piece of theatre. Admittedly some serious issues are glossed over. The ‘Winter of Discontent’ that is blowing outside beyond the comfortable confines of Clarence House is cursorily commented on. Yet the subject of class divide is sensitively touched upon between the comedic lines. There are flashback scenes to the recently widowed Queen Mother during which Ilan Galkoff touchingly portrays a fifteen-year-old Billy at the start of his journey, while Wilton draws every ounce of empathy with her depiction of a woman learning to laugh once again. Backstairs Billy was a breath of fresh air to the former Queen consort. “Backstairs Billy” is a breath of fresh air in the West End.


BACKSTAIRS BILLY at the Duke of York’s Theatre

Reviewed on 8th November 2023

by Jonathan Evans

Photography by Johan Persson

 


 

 

 

Previously reviewed at this venue:

Much Ado About Nothing | ★★★★ | February 2023

Backstairs Billy

Backstairs Billy

Click here to read all our latest reviews