★★★

“Crim’s script is compelling”

23.5 Hours markets itself as a ‘drama about the price of staying together when everything falls apart’. Set in a generic town in North America, 23.5 Hours is an investigation into accusations of sexual misconduct and statutory rape, namely between Tom Hodges (David Sturzaker)– a beloved high school teacher – and his 15-year-old female student. But director, Katharine Farmer – with Carey Crim’s script – skips the tantalising details of the scandal, the trial, and Tom’s two-year prison sentence. Instead, we really begin with Leigh (Lisa Dwan) – Tom’s wife – as she navigates life with Tom after his release, having become a social pariah herself, whilst also trying to protect her teenage son, Nicholas (Jem Matthews).

Any show that welcomes audiences in with the music of Nick Cave practically guarantees a philosophical workout, and 23.5 Hours delivers. It’s a deft investigation into trust and love set against the backdrop of unending online vitriol and constant scrutiny.

But the play opens shakily: Leigh and Tom return with best friends and couple, Jayne (an excellent Allyson Ava-Brown) and Bruce (Jonathan Nyati). They’re jovially swigging wine, teasing and silly, having returned from watching Tom’s indulgent two hour and forty eight minute high school production of Romeo and Juliet. Such joviality dichotomises the emotional apocalypse that lies in wait, but it’s a messy joviality, somewhat saccharine, not helped by the mess of American accents, which range from passable to not passable.

Once the drama kicks off however, its non-stop turbulence is endlessly engaging. Crim’s script is compelling, situating itself within the fallout of the Me Too movement, but hyperaware of this. In 23.5 Hours, nobody has moral superiority; everyone is self-righteous and reprehensible, yet never villainous. It delicately straddles the tightrope of judgement: as soon as you think you’ve digested the situation, you’ll be ushered elsewhere. And at some point in the show, you will sympathise with every character. Dealing with material this fraught, that is a real achievement. The show scrutinises the grey bits in-between the ethical absolutes that ordinarily dominate: it is beautifully nuanced, and occasionally very funny.

The stage design (Carla Goodman) complements the piece and Leigh’s psyche excellently. All the action takes place in Leigh’s house, to great effect. This static quality reflects her internal implacability: her denial that she could be in any way shaken in her love for Tom by mistrust, despite growing evidence against him. But as Leigh’s trust and self-belief fragments, so too does her house. Nick Cave also pops up again in the room décor, which I appreciated.

Another shoutout goes to wine, which trails behind almost every character: a skilfully subtle observation of multi-generational addiction and hypocrisy.

The show is perhaps a little too shouty: it would’ve benefitted from fewer screaming matches – which would also have shaved a necessary half hour off. It’s difficult to sustain such high stakes, but the cast are all strong, and Dwan carries its weightiness with aplomb.

One enduring ontological knot, however, is the plausibility of the enduring love between Tom and Leigh. Tom’s character has few redeeming features – despite his obvious intelligence – and it is hard to understand his appeal, or Leigh’s determination to stick by him (certain plot points complicate and elucidate this, but it does remain a concern). Fewer emotional climaxes would’ve made room for threat and tension, allowing the insidious seeds of doubt to fester more.

23.5 Hours is not perfect, but it’s truly a gripping show, which cannot but hook you in. And the cliffhanger will give you plenty to talk about on the tube home.

PIPPIN IN CONCERT at the Theatre Royal Drury Lane

★★★★★

“The air is thick with the exhilaration that flows from the cast and ensemble”

“We’ve got magic to do, just for you… We’ve got miracle plays to play. We’ve got parts to perform – hearts to warm… as we go along our way”. Barely into the opening number, as the London Musical Theatre Orchestra reaches its crescendo and the ArtsEd Choir swells in beautiful unison, we know that these bold promises in the libretto will be fulfilled. Already our hearts are warmed. We are in for a magical ride. The fiftieth anniversary concert of “Pippin” at Theatre Royal, Drury Lane is nothing short of a miracle. The realisation comes with a shower of golden confetti falling over the auditorium as we look around expecting to see Simon Cowell wildly banging his Golden Buzzer.

It boasts a star-studded cast, led by… well – the ‘Leading Player’. Alex Newell commands the stage, their presence demolishing the fourth wall while their soaring vocals bring down the roof. For a moment we are in pure Motown territory. But we cover much more varied ground in this show-within-a-show musical that leads its protagonist on a rich journey in pursuit of fulfilment and purpose; of an illusory ‘American Dream’.

Jonathan O’Boyle has brought this fifty-year-old musical right into the present day, not just giving its over simplified social commentary a twenty-first century relevance, but also laying bare the inherent comedy within Roger O. Hirson’s book. The dialogue elicits just as many laughs as the songs prompt ovations. Tucked away are moments of philosophical satire that Voltaire would have been proud of. But let’s stay away from analysis and focus on the spectacle, for that is what this revival is all about. While the cast bring something new and fresh to the table, the authenticity is left intact. Joanna Goodwin’s choreography is modern yet full of timeless moments of pure Fosse, while Simon Nathan’s sumptuous orchestrations are simultaneously contemporary and traditional. Orchestra and choir are the set, a gorgeously visual and aural backdrop with Jamie Platt’s lighting pinpointing the action and locations with emotional accuracy. Not to mention Adam Fisher’s crystal-clear sound that highlights every nuance of the score.

Above all, though, this show belongs to the performers. Jac Yarrow seizes the title role with ease and charm. In fine voice throughout, his comic timing also comes to the fore as he relaxes into the part. By the time he meets his love interest in Act Two, the humour soars almost as high as his falsetto. Lucie Jones, as the widow Catherine who eventually captures Pippin’s heart, is simply hilarious. The more the fourth wall breaks down, the more she milks it for comic effect, yet she touches our hearts when she steals a solo number. Zizi Strallen, as wicked stepmother Fastrada, takes sassiness to new levels, all high kicks and splits, and spellbinding dancing. Patricia Hodge plays the grandmother with a knowing wink – raunchy yet wise, grounded yet with a lust for life. She’s no singer but she sure has the mojo.

For a musical, the characters have a surprising number of dimensions, which the performers draw out with unabashed joy. Cedric Neal’s King Charlemagne is a gloriously comic tyrant, always poking fun at his own personality. The air is thick with the exhilaration that flows from the cast and ensemble. They all seem to be making fun of the show while celebrating it at the same time. And, boy, is it a celebration? Stephen Schwartz’ music and lyrics may not be high art, but the faultless singing ekes out emotions and meaning that past productions have sometimes failed to unearth. And at the helm is Alex Newell. Although not quite in charge of their insubordinate players who eventually rebel against the script, Newell is definitely in charge of this show. The power of their voice leaves no argument.

The billing of the show is inaccurate. “Pippin” is, in truth, fifty-two years old this year. So, it’s not strictly its 50th anniversary concert. But who cares? It’s not really a concert either. It is far more than that. It is an extravaganza.

Tag Archives: Jamie Platt

23.5 HOURS

★★★

Park Theatre

23.5 HOURS at Park Theatre

★★★

“Crim’s script is compelling”

23.5 HOURS at Park Theatre

Reviewed on 9th September 2024

by Violet Howson

Photography by Charles Flint

Previously reviewed at this venue:

BITTER LEMONS | ★★★½ | August 2024

WHEN IT HAPPENS TO YOU | ★★★★★ | August 2024

THE MARILYN CONSPIRACY | ★★★★ | June 2024

IVO GRAHAM: CAROUSEL | ★★★★ | June 2024

A SINGLE MAN | ★★★★ | May 2024

SUN BEAR | ★★★ | April 2024

HIDE AND SEEK | ★★★★ | March 2024

COWBOYS AND LESBIANS | ★★★★ | February 2024

HIR | ★★★★ | February 2024

LEAVES OF GLASS | ★★★★ | January 2024

KIM’S CONVENIENCE | ★★★★ | January 2024

21 ROUND FOR CHRISTMAS | ★★★★ | December 2023

23.5 HOURS

23.5 HOURS

Click here to see our Recommended Shows page

PIPPIN IN CONCERT

★★★★★

Theatre Royal Drury Lane

PIPPIN IN CONCERT at the Theatre Royal Drury Lane

★★★★★

“The air is thick with the exhilaration that flows from the cast and ensemble”