★★★★

“The execution of the story is fascinating and the reflection on the punk and queer scene of the time is illuminating”

Foam is a biographical story about a gay neo-Nazi from 1974 to 1993. We follow his life through a series of conversations with other gay men, all taking place in a public toilet from the day he shaves his head to… the final bathroom. The show depicts racially sensitive subject matter, homophobia and violence (Jess Tucker Boyd as fight director). Some of the conversations are up for interpretation with regards to the takeaway message.

The audience enter to the sounds of a dripping echoey lavatory (David Segun Olowu). The room is plunged into darkness as startling punk music clangs around the intimate Finborough Theatre, with the audience sat on three sides. Lights up on Nicky with shaving foam on his head. Written by Harry McDonald and directed by Mathew Lliffe, Foam is an intense, cerebral and provocative examination of the dichotomous person that was Nicky Crane. The conversations are wide ranging; confrontational, sexually charged and also humorous as Nicky tries to connect with other queer men through the changing eras of the punk and gay clubbing scene.

The set is evocative and timeless with its industrial white tiled walls, blurry mirrors and fixtures of a public convenience (Nitin Parmar). It is lit with atmospheric colours and makes use of the glazed windows above and light seeping through the centre stage cubical. Colours creep into scenes slowly, before you notice the ‘rosey tint’ of Nicky’s memories (Jonathan Chan).

“Walker multi-roles these characters with tension and levity opposite Richards who is terrifying and desperate

McDonald takes artistic license as Nicky Crane (Jake Richards) meets Mosely (Matthew Baldwin), fascism incarnate, who seduces Nicky in more ways than one. Baldwin is electric and commanding whilst Richards is an unsure but intrigued teenager. Whilst gripping and absorbing, the blurring of homosexual awakening and right-wing radicalisation could be considered an unfair comparison, but others may read into the scene differently. Later on, we meet characters who seem attracted to Nicky’s ‘look’ in the form of Gabriel and Christopher (Kishore Walker) who display a nonchalant attitude to his skinhead identity. The play presents affronting examination of LGBTQ individuals who tolerate and entertain the hypocrisy of Nicky, even liking what he represents. Nicky can only exist as a Nazi if there are other gay people who choose to ignore or fetishise his tattoos and worldview. Walker multi-roles these characters with tension and levity opposite Richards who is terrifying and desperate.

A scene that provokes interrogation is that of Bird (Keanu Adolphus Johnson), a black gay man who Nicky corners in a club bathroom. The two men discuss Nicky’s crimes, which were unmentioned until this point, his targets including a nine year old. This is the only time Nicky and the audience is confronted with an overt rejection of right wing extremism and the impact of his crimes on victims, which bares noting. Johnson presents Bird as strong and secure in his queerness and in his rejection of Nicky in a powerful argument. The bravery of Bird is admirable, but potentially defangs the stakes of what Nicky represents. The final scene brings back Baldwin as Craig, a kind loving figure, starkly different to Mosely.

Foam tackles Crane’s life with depth and precision. In a story about neo-Nazis and hypocrisy, there was less focus on the consequences of his hate crimes and more on his strange double life and the people that populated it. The execution of the story is fascinating and the reflection on the punk and queer scene of the time is illuminating. The cast were superb and transfixing under Lliffe’s direction. Nicky Crane was a real man who committed hate crimes. There remains some discussion to be had about what the show was trying to say, and who got to say it. But It is clear that the play definitely invites these important conversations.

SHERLOCK HOLMES: THE VALLEY OF FEAR at Southwark Playhouse Borough

★★½

“Despite a superb effort from the cast to deliver the vast array of characters, the dark twisting intercontinental plot failed to capture its audience”

Sherlock Holmes: The Valley of Fear is not the usual ‘Holmes’ story. Adapted and directed by Nick Lane, it follows two mysteries simultaneously. One case set in a manor in Britain and one in the coalfields of Pennsylvania, filled with unscrupulous characters and mysterious motives. The tale started off slowly, and continued slowly and ended slowly. It is possible that it was more suited to its pace and layout in the book, however this adaptation was confusing, long and frankly boring. A bad case of ‘tell and no show’ occurred, not even Dr Watson could cure this affliction, although he did describe how to do so at length. A handful of specific moments of action felt exciting and held stakes that added to the drama (Action by Robert Myles). The direction made little flair of the eccentricates of the characters and the occasional moment of fun choices (actors bobbing about in a carriage during a conversation) made the majority of the flatness in scenes feel more energy-sapping. The eventual conjoining of the stories felt unclear in many ways and the finale felt like a ‘to-be-continued’ was in implied.

The actors must receive significant praise. Delivering the two mysteries required multi-rolling in and out of characters and their respective accents in slick on stage transitions. In a surprising casting decision, Holmes and Watson also multirole as minor characters in the US plot and both played this wonderfully. Admittedly, reading the cast list highlights multiple characters that could not be identified from the show. Watson is depicted as a mild-mannered companion and observer, occasionally inducing laughs (Joseph Derrington). Holmes is a contemplative thrill seeking sleuth (Bobby Bradley) of typical stoic Victorian stock. Bradley and Derrington make a believable duo and make the most of the moments afforded to them to show their dynamic. As the US plot unravels, we meet Jack McMurdo AKA Birdy Edwards AKA John Douglas (Blake Kubena). Kubena delivers an intriguing performance, injecting charm and style into scenes. The ensemble team shine in this production as Inspector McDonald/Officer Jasper/Ames/Bodymaster McGinty/Cecil Barker and…Professor Moriarty (Gavin Molloy). Molloy steals the show as he fights the script to distinguish his roles and deliver memorable moments, including a genuinely gripping death scene and funny delivery as bumbling Cecil Barker. Equal in talent Mrs Hudson/Officer Marvin/ Ettie Shafter/Mrs Allen and Mrs Ivey Douglas (Alice Osmanski) who utilises her considerable range to deliver similar roles as differently as possible, bouncing off Molloy expertly.

The technical elements of the show could have assisted in differentiating the setting or enhancing the atmosphere more. Almost all scenes were burnished in the same yellow tungsten glow, whether located in Baker Street, Pennsylvania or Tunbridge Wells. The sound design included live singing, which enhanced scene transitions and added atmosphere, but was abandoned for the most part in Act II (Tristan Parks). The set provided the backdrop of a grimy Victorian wallpaper that peeled into the wooden slats of a downtrodden mining town invoking setting rather than providing levels (Victoria Spearing). The costumes were appropriately period and aesthetically pleasing, but did little to separate the male characters beyond a pair of glasses (Naomi Gibbs).

The Valley Of Fear may be one of the most popular Holmes mysteries, but it did not translate well to stage in this adaptation. Despite a superb effort from the cast to deliver the vast array of characters, the dark twisting intercontinental plot failed to capture its audience. Rather than battling Moriarty in a game of wits, the audience were battling their minds from wandering to other iterations of these characters.

FOAM at the Finborough Theatre

★★★★

“The execution of the story is fascinating and the reflection on the punk and queer scene of the time is illuminating”

“Walker multi-roles these characters with tension and levity opposite Richards who is terrifying and desperate

FOAM at the Finborough Theatre

Reviewed on 4th April 2024

by Jessica Potts

Photography by Craig Fuller

Previously reviewed at this venue:

FOAM

FOAM

SHERLOCK HOLMES: THE VALLEY OF FEAR at Southwark Playhouse Borough

★★½

“Despite a superb effort from the cast to deliver the vast array of characters, the dark twisting intercontinental plot failed to capture its audience”

SHERLOCK HOLMES: THE VALLEY OF FEAR at Southwark Playhouse Borough

Reviewed on 28th March 2024

by Jessica Potts

Photography by Alex Harvey-Brown

Previously reviewed at Southwark Playhouse venues:

SHERLOCK HOLMES: THE VALLEY OF FEAR

SHERLOCK HOLMES: THE VALLEY OF FEAR