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FOAM

★★★★

Finborough Theatre

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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”

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.

 


FOAM at the Finborough Theatre

Reviewed on 4th April 2024

by Jessica Potts

Photography by Craig Fuller

 

 

 

Previously reviewed at this venue:

JAB | ★★★★ | February 2024
THE WIND AND THE RAIN | ★★★ | July 2023
SALT-WATER MOON | ★★★★ | January 2023
PENNYROYAL | ★★★★ | July 2022
THE STRAW CHAIR | ★★★ | April 2022
THE SUGAR HOUSE | ★★★★ | November 2021

FOAM

FOAM

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Backstairs Billy

Backstairs Billy

★★★★

Duke of York’s Theatre

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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

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