Tag Archives: King’s Head Theatre

HOW TO SURVIVE YOUR MOTHER

★★★

King’s Head Theatre

HOW TO SURVIVE YOUR MOTHER at the King’s Head Theatre

★★★

“there are some lovely moments, and some laudable dialogue between Maitland and his wife”

How to Survive Your Mother is the newest play from playwright and former journalist Jonathan Maitland, dramatising the work of his 2007 memoir of the same name. Working with director Oliver Dawe, this play explores Maitland’s relationship with his mother, throughout his childhood and early adulthood, as she hot desks her way through different men, and opens up Britain’s first ever gay hotel (this definitely didn’t get enough attention).

Whilst the piece is strewn with moments of humour and astute observation, it was let down by a distinct lack of theatrical action. And by this, I mean a narrative arc; a dramatic structure; a climactic rise and fall, punctuated by catharsis. A play needn’t be a tragedy to necessitate such structures. Perhaps Maitland is jarred by his journalistic instincts, veering into the realm of witty and engaging reporting, but at the expense of theatrical flow. Thus, in lacking direction, the play also lacked pace, making the 90 minutes – sans interval – drag somewhat.

The work lacked that je ne sais quoi that electrifies theatre into life. It felt more like a loose montage of memories of Maitland’s mother’s outrageous displays of narcissism and abuse, than a constructed account of his mother and their relationship. So perhaps, actually, I do sais quoi, and it is the pressing lack of a coherent narrative.

Whilst both play and staging did feel overly busy at times, the set design (Louie Whitemore) and use of props were accomplished and inventive. I especially enjoyed a birthday cake’s transformation into a steering wheel, and shortly after, an airbag.

Within the small cast, majority were multi-rolling, and excellently so, interspersing humour and subtlety into their every character. Personally and perhaps unfairly, I have a long-held vendetta against child actors, and the inclusion of a child (Brodie Edwards and Howard Webb, alternately) in this play did not help to dispel my prejudice.

Maitland has his own role on stage: he appears as himself in the present day action, addressing the audience, and sometimes his wife. At other times, he just circles the stage, or plops himself down in the audience for long stretches. Whilst his self-effacing commentary on both this choice and his lack of acting ability is amusing – and fascinating on a meta-theatrical level – it undermines the dramatic action, detracting focus from the scene itself.

The play, as one would assume, revolves around Maitland’s mother. And whilst he does point out that he has written ‘a play, not a diagnosis’, his mother dabbles in all sorts of textbook narcissism. The problem with narcissists, though, is that they often straddle charisma and malice simultaneously (PSA: I’m not a psychiatrist). The problem with the portrayal here is that, as effervescent as Emma Davies is, Maitland’s mother is consistently selfish, nasty, and completely objectionable. And with the absence of a narrative arc compelling us to her, it’s hard to develop a strong enough interest in both her and her relationship with her son.

It is the lack of coherence and narrative that lets this play down. Despite this, there are some lovely moments, and some laudable dialogue between Maitland and his wife, largely deliberating on the nature of The Female Middle Age Crisis to Trained Therapist pipeline.

Oedipus did a great job of sparking our collective obsession with mother-son relationships, and Maitland’s new play is an interesting addition. But Oedipus also excelled in its very story, without which there is little appeal. How to Survive your Mother, whilst entertaining, needs this appeal if it is to also be affecting.


HOW TO SURVIVE YOUR MOTHER at the King’s Head Theatre

Reviewed on 28th October 2024

by Violet Howson

Photography by Charles Flint

 

 

 

 

 

 

 

Previously reviewed at this venue:

TWO COME HOME | ★★★★★ | August 2024
THE PINK LIST | ★★★★ | August 2024
ENG-ER-LAND | ★★★ | July 2024
DIVA: LIVE FROM HELL! | ★★★★ | June 2024
BEATS | ★★★ | April 2024
BREEDING | ★★★★ | March 2024
TURNING THE SCREW | ★★★★ | February 2024
EXHIBITIONISTS | ★★ | January 2024
DIARY OF A GAY DISASTER | ★★★★ | July 2023
THE BLACK CAT | ★★★★★ | March 2023
THE MANNY | ★★★ | January 2023
FAME WHORE | ★★★ | October 2022

HOW TO SURVIVE YOUR MOTHER

HOW TO SURVIVE YOUR MOTHER

Click here to see our Recommended Shows page

 

TWO COME HOME

★★★★★

King’s Head Theatre

TWO COME HOME at the King’s Head Theatre

★★★★★

“raw emotion is never far from the surface in this attention grabbing show”

Billed as an exploration of the realities of being gay in an impoverished rural community, ‘Two Come Home’ is a gut-wrenching drama that is a huge credit to its highly talented queer cast and crew.

Previously performed in Brighton, the show has an unmissable four-day run at the King’s Head Theatre, Islington as part of the Camden Fringe Festival. There’s a compelling, raw energy to this piece by Joe Eason which is set on the wrong side of the tracks in small town, deep south America.

The multi-talented Eason also co-stars in his own play and has in addition both designed the show and composed its haunting music. Kirsten Obank-Sharpe’s direction is meticulous, keeping the focus sharp throughout. She is also a member of an on-stage three-piece band, together with Cam Southcott on violin and Elizabeth Cleone Hopland on cello.

Evan’s dad has been jailed for ten years for violent crime. His gay son is clinging to the wreckage of a broken affair that ended a decade earlier. His mum (Nicola Goodchild in a wild performance full of sad energy) is a dysfunctional addict who has never learnt to love him. What happens when Evan’s ex (Ben Maytham) walks back into Evan’s life and will love rekindle in these most desperate of times?

As Philip Larkin famously wrote, ‘they fuck you up, your mum and dad’. Besides the gay love story, there’s an important second narrative here about the failure of familial love. Come what may, raw emotion is never far from the surface in this attention grabbing show. There’s plenty of that strength of feeling in the furiously frustrated language the characters exchange, and there’s wit and poetry too.

Joe Eason’s design is simple and to the point, with some effective lighting adding to the atmosphere generated by the off-key, melancholic score. A highpoint was his voice and guitar rendition of a beautiful song about love lost. The chemistry between the two estranged lovers is electric, helped by intimacy coaching from Marina Cusi Sanchez. James Burton blisters with toxically dangerous energy as Caleb Nicolson.

At the end it’s left to a woman cop (a deft and witty performance by Hannelore Canessa-Wright) to act the Greek chorus and deliver a final message: ‘Just drop the drama! Happiness is a choice’.

I’m not able to report why the playwright chose the American rust bucket setting. This Brokeback vibe has big screen reasonance. The show’s publicity cites its relevance to young audiences. Do similar dramas play out in rural Norfolk or Wales today?

 


TWO COME HOME at the King’s Head Theatre

Reviewed on 15th August 2024

by David Woodward

Photography by J. R. Dawson

 

 


 

 

 

 

Previously reviewed at this venue:

THE PINK LIST | ★★★★ | August 2024
ENG-ER-LAND | ★★★ | July 2024
DIVA: LIVE FROM HELL! | ★★★★ | June 2024
BEATS | ★★★ | April 2024
BREEDING | ★★★★ | March 2024
TURNING THE SCREW | ★★★★ | February 2024
EXHIBITIONISTS | ★★ | January 2024
DIARY OF A GAY DISASTER | ★★★★ | July 2023
THE BLACK CAT | ★★★★★ | March 2023
THE MANNY | ★★★ | January 2023

TWO COME HOME

TWO COME HOME

Click here to see our Recommended Shows page