Tag Archives: Jack Condon



The Vaults



The Vaults

Reviewed – 28th November 2019



“it is impossible not to enjoy all the good humoured larking about in this production”


Imagine a gritty Cinderella set in a northern karaoke pub, and you have the premise for Not Too Tame’s version, written by Luke Barnes, and directed by Jimmy Fairhurst, of the perennial pantomime favourite. But that’s where the similarities end. In this decidedly grown up interpretation, Barnes has chosen to keep only the barest outline of the story, and ditch the magic. So Cinders is a charmingly downtrodden barmaid struggling to keep her dead father’s pub afloat. She is assisted in her endeavours by her best friend Mike, a nod to the fairy godmother role in the original story, but here a working man’s silver lamé wannabe drag queen who MC’s the music. Her evil stepmother, named Judy Garland here, and her two brash stepsisters, Simone and Garfunkel, leach off the labours of the pub workers, and dream of turning a tidy profit from a gastro pub instead. There is a Prince Charming, but he is a “fit” young man with his own ideas about how to exploit his “princess”. And Buttons is a neglected dog with thoughts of
suicide. Poor Cinderella, however is she going to extricate herself from this working class nightmare, and live happily ever after?

There are a lot of good performances in this production, although the singing, with the exception of Lizzie Hopley channeling the divine Judy, is for the most part uninspired. But what the cast lack in musical big moments, they more than make up for in spot on northern accents, comic shtick and spirited interaction with the audience. Patrick Knowles, as Buttons the dog, is a wonderful comic talent who keeps the action from sagging into gloomy exposition as he sprints around the house doing his best to avoid the inevitable bath. Cinders’ sisters, the inexplicably named Simone and Garfunkel, and played here by Louise Haggerty and Megan Pemberton, provide just the right amount of nastiness mixed in with hilarious turns as divas in training. These sisters may be terrible husband hunters, but Haggerty and Pemberton are particularly good at finding audience members willing to go along with their backchat and banter. And Jimmy Fairhurst, as the aforementioned Mike, holds it all together as he schemes to get Cinders to the party in a suitable dress. It’s really only Rosa Coduri, as Cinderella, dressed in jeans and an ugly Christmas sweater (why?) and Jack Condon, as Prince Charming, who struggle in poorly adapted roles. Coduri comes into her own at the end of the show, however, when she sends the upwardly mobile Charming packing, and decides that running the pub with her friends (and her dog) is the happy ending she’s been looking for.

For theatre goers who prefer their pantos traditional, with lots of magic and outrageously pretty costumes, Barnes’ adaptation of Cinderella will come up short. Nevertheless, it is impossible not to enjoy all the good humoured larking about in this production. And if you stick around after the show you will have the opportunity to get stuck into some serious karaoke.


Reviewed by Dominica Plummer

Photography by Geraint Lewis



The Vaults until 12th January


Last ten shows reviewed at this venue:
Essex Girl | ★★★★ | March 2019
Feed | ★★★★ | March 2019
How Eva Von Schnippisch Won WWII | ★★★★ | March 2019
The Talented Mr Ripley | ★★★★ | March 2019
Vulvarine | ★★★★★ | March 2019
Bare: A Pop Opera | ★★★ | June 2019
Black Is The Color Of My Voice | ★★★★ | June 2019
Me and my Whale | ★★★ | June 2019
The Falcon’s Malteser | ★★★★★ | July 2019
Red Palace | ★★★½ | October 2019


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Noughts and Crosses

Theatre Royal Brighton & UK Tour

Noughts and Crosses

Noughts and Crosses

Theatre Royal Brighton & UK Tour

Reviewed – 19th March 2019



“misfires terribly, covering too many issues without any real cohesion and substance”


The idea of Noughts and Crosses appears a simple one. The tables have turned and the power in the world rests with the black population, not the white. We have the Crosses that epitomises power, wealth and political dominance and then the Noughts, second class citizens who are discriminated against because of their beliefs and are banned from interaction with the Crosses.

The story of Noughts and Crosses follows two teens from opposing sides of society, Sephy (Heather Agyepong), a Cross and Callum (Billy Harris), a Nought. We start by seeing their childhood innocence but that soon shifts onto much darker tones.

Throughout the piece we identify the rest of the cast (Doreene Blackstock, Jack Condon, Daniel Copeland, Lisa Howard, Chris Jack and Kimisha Lewis) jumping between characters. From parents of the two teens to members of rebellious militia groups amongst others. This could be a real strength of the piece but however falls flat with no real clear distinction vocally from the actors to differentiate between the roles which is ultimately confusing for the audience.

In the Noughts and Crosses novel series Malorie Blackman understands who we are as people better than most. The characters she’s created, in Sephy and Callum particularly, have depth but are poorly transitioned onto stage by adapter Sabrina Mahfouz. I do sympathise with Mahfouz however as it is an ambitious effort to translate all the themes from the first two novels, which Noughts and Crosses is based on, into just two hours. Above all I feel there is a clear generation gap in the writing, condescending in its approach to youth issues. The use of phrases such as ‘Flipping Sod’ makes us cringe rather than connect.

The saving grace in this production however comes from the design team, in that of Josh Drualas Pharo (Lighting) Arun Ghosh (Music), Xana (Sound), Adam McCready (Sound Engineer) Ian William Galloway (Video) and Simon Kerry (Design). The arrangement echoes The Curious Incident of The Dog In The Night Time, a sparse stage with hidden compartments and doors. The attractive set helps the transitioning of scenes seem effortless.

Overall Noughts and Crosses misfires terribly, covering too many issues without any real cohesion and substance. Rape, physical abuse, teenage pregnancy and radicalisation are all pertinent issues however the end result is chaotic and clumsy; a condescending scattergun of the analysis of youth and love.


Reviewed by Nathan Collins

Photography by Robert Day


Noughts and Crosses

Theatre Royal Brighton until 23rd March

then UK Tour continues


Previously reviewed at this venue:
This is Elvis | ★★★ | July 2018
Salad Days | ★★★ | September 2018
Rocky Horror Show | ★★★★ | December 2018
Benidorm Live! | ★★★★ | February 2019


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