★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

“The Frogs” – the musical ‘freely’ adapted by Stephen Sondheim and Burt Shevelove from the ancient Greek comedy by Aristophanes – opens with a paradox. The time is the present and the place is Ancient Greece. This tells us that the writers have given themselves license to tweak (to put it politely) the original for a modern audience. The central premise, however, needs little updating: Aristophanes used his play – at a time of crisis – as a biting satire of politics and religion, bemoaning the corruption inherent in society’s leaders and calling for the rejection of the status quo. Two-and-a-half-thousand years on we can pretty much still relate to that. What the writers have done is sprinkle it with contemporary references, added a fair dose of Sondheim’s inimitable music and lyrics and, with the help of Nathan Lane (‘even more freely’ adapted) dished up a couple of hours of mind-bogglingly, zany and funny – but inconsistent – musical theatre.

The title is a touch misleading. Yes, there are frogs. Frogs that populate the River Styx (of course!) and close Act One with a droll and incisive choral number; but beyond that they barely make an appearance. What “The Frogs” focuses on is the epic journey of Dionysos and his slave Xanthias into the Underworld and back in a bid to put the world to rights. Dionysos believes only art can save civilisation but contemporary dramatists aren’t up to scratch, so he decides ‘to go to Hell and back’ (this particular joke is milked for all its worth) to bring George Bernard Shaw back from the dead. He finds Shakespeare down there, constantly at loggerheads with Shaw. The two of them end up fighting it out in a linguistic dual, competing to see which one Dionysos will choose to accompany him back to the land of the living.

The journey is a bit of a meandering rollercoaster. Or rather log-flume, or water-chute. Although mercifully no water tanks have been employed to create a realistic representation of the Styx. Instead, Samuel Biondolillo’s evocative lighting, and Libby Todd’s clever breakaway set depict the worlds we travel through. Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act. They don’t break the fourth wall, they just take it for granted there isn’t one – which makes their on-stage chemistry and affectionate rivalry as master and slave, even more of a delight to be immersed in. They draw us into the story with ease, and we are willing accomplices. Joaquin Pedro Valdes is having great fun as the ab-flexing Herakles. Carl Patrick’s boatman Charon ups the fun stakes, veering dangerously close to indulgent, but Georgie Rankcom’s strong directorial hand keeps the cast firmly in check, possibly with the exception of Victoria Scone, as Pluto, who brings her Drag Race persona crashing onto the stage with the confidence of a fully-fledged Goddess. (Scone plays Pluto only until 31st May, after which a rota of other performers takes a week each).

The comedy’s sharpness is honed during the later stages of the show, when Bart Lambert’s Shakespeare and Martha Pothen’s Bernard Shaw tackle each other with words like drunkards brawling with bottles. Lambert’s and Pothen’s comic timing and grasp of their respective character’s linguistic styles is extraordinary and the humour, whilst more subtle, becomes increasingly satisfying the more it ditches its pantomime pizzazz.

More of a play with music than a musical, “The Frogs” is full of anachronisms and topical updates that bring the message closer to a contemporary audience. Even closer than the musical’s 1970s premiere, with references to influencers and Andrew Lloyd Webber’s ‘Bad Cinderella’ – among many others. This does add to the already heady mix of styles that can be a bit alienating, and the pointed political commentary (‘you get the leader you deserve’ for example) is a touch blunt and predictable. But there is no denying the sheer sense of fun, anarchy and silliness. Definitely worth hopping along to.

A SONG OF SONGS at Park Theatre

★★★★

“The songs are pools of splendour we would happily bathe in for hours”

According to tradition, King Solomon wrote three books of the bible, the most famous of which is ‘Song of Songs’ (also known as ‘The Song of Solomon’) – a collection of erotic verse that, over time, has been interpreted literally and metaphorically. It is either an allegory for the relationship between God and his people, or a description of a romantic and sexual relationship between a man and a woman. It is apparent that Ofra Daniel, the force behind the musical play – “A Song of Songs” – is of the latter persuasion as she reinterprets the ancient Hebrew text, spinning her own eroticism on the timeless poetry and weaving it into an extraordinary and striking celebration of love, and music. Lush, passionate and sexy, it is a unique theatrical experience that fuses poetry, dance, music and storytelling.

Written, composed (with Lior Ben-Hur) and directed by Daniel, she also plays the narrator – Tirzah – a woman who is “organised differently”. A bittersweet tale of a woman consumed by desire for a lover she never meets. In an unsatisfying marriage to a fisherman, she starts to receive anonymous love letters from a secret admirer which awakens a deep longing in her. Her awakened sensuality turns into obsession until she is eventually known as the ‘crazy poet of love’, surrounded by the Women of Jerusalem who ostracise and envy her. While they obey Solomon’s musical refrain, ‘do not arouse love until it so desires’, for Tirzah it is already too late. She can never put it back to sleep.

Daniel’s performance is powerful and compelling, yet vulnerable and often allowing her to retreat into the shadows cast by the formidable supporting cast. This is in no way a one woman show. The onstage musicians, the dancers and the supporting roles are all on an equal footing, which lends a gorgeous harmony to a musical score that mixes Flamenco, Klezmer and the exotic sounds of the Middle East. The musicians often wander into the action. Daniel Gouly’s haunting, glissando clarinet and Amy Price’s melancholy violin can often be seen and heard dancing with the voices of the ensemble (Laurel Dougall, Rebecca Giacopazzi, Shira Kravitz and Ashleigh Schuman). The Gypsy King’s Ramón Ruiz is simply stunning on Spanish guitar, while multi-instrumentalist Ashley Blasse oozes charisma from behind their double bass. Ant Romero, on percussion, ties each strand of the musical styles into solid knots of rhythm.

The musicality is undoubtedly the star of the show. Whether or not the songs enhance the narrative is irrelevant. The songs are pools of splendour we would happily bathe in for hours. Matthew Woodyatt’s rich baritone adds depth and layers of strength onto the female dominated chorus, while Joaquin Pedro Valdes hovers between the two in an androgynous mid-range. Woodyatt is often accompanying the musicians on accordion and also takes over the narrative from Daniel, portraying the wronged husband with a masterful sensitivity. Valdes is the lover that Tirzah conjures from her heart to spend her life trailing through the streets searching for.

Will they ever meet? The story follows a cyclical path that kind of gives us the answer at the start as well as the end. As the twist is revealed to us, we feel like the story might be starting over. Even at two hours long we wouldn’t mind if that was the actual case. Instead, though, we have an upbeat refrain of the opening number. This is, ultimately, a celebration. There are warnings along the way, and we drift through many moods, enhanced by Aaron J Dootson’s ambient lighting, full of ingenious little tricks and innovations.

Tirzah is a woman who lived from one poem to another. A woman sick with love, crazy for love. Who has lost her way for love. Yet in the hands of Ofra Daniel she remains powerful, feminine, erotic and independent. Beneath the ‘crazy poet of love’ outer shell is a vivid embodiment of the human condition that is as old as the bible itself. “A Song of Songs”, describes itself as a musical play rather than a musical (despite boasting nearly twenty musical numbers). Whatever label you want to give it – it is a musical feast.

THE FROGS

Southwark Playhouse Borough

★★★

“Dan Buckley’s Dionysos and Kevin McHale’s Xanthias make a wonderful double act”

THE FROGS

Southwark Playhouse Borough

Reviewed on 27th May 2025

by Jonathan Evans

Photography by Pamela Raith

Last ten shows reviewed at Southwark Playhouse venues:

THE FROGS

THE FROGS

THE FROGS

A SONG OF SONGS at Park Theatre

★★★★

“The songs are pools of splendour we would happily bathe in for hours”