Tag Archives: Libby Watson



Fairfield Halls & UK tour



Fairfield Halls, Croydon

Reviewed – 9th January 2020



“The lovelorn numbers may be predominantly in the minor keys, but the show is a major triumph”


It is a popular genre at the moment: the list is vast, and still growing, of movies turned into musical stage shows. They are greeted with varying degrees of commercial and critical success, but once in a while a show stands out from the crowd. “Once” is one of those shows and it is simultaneously easy and hard to see why. Dispensing with the razzamatazz and big budget bombast it quietly charms with a simplicity that aims straight for the heart.

Based on John Carney’s film of the same name it features the music and lyrics of Glen Hansard and Markéta Irglová. Carney and Hansard were both members of Irish band, The Frames, and the autobiographical slant (Hansard also spent many years busking on the streets of Dublin) lends an unforced authenticity to the evening. The unwavering quality of detail extends to all aspects of the production. From the outset Libby Watson’s brilliantly effective design draws us into a pub, somewhere in Dublin and somewhere in the last two decades of the twentieth century. It’s seemingly a lock-in and a ceilidh is in full swing. In a seamless shift from pre-show to show we find ourselves back out on the streets where Guy, a busker, stands alone with just a guitar and an emotionally charged, cracked voice. You’ve seen him, every hundred yards, along Grafton Street, in rain or shine, pouring more of his heart into his battered case than passers-by drop coins. A Czech woman (known simply as ‘Girl’) is captivated. She rescues him from his torpor and the ensuing ‘will-they-won’t-they’ romance is a delight. We have fallen in love with them way before we discover whether they will fall in love with each other.

Enda Walsh’s book shows him on top form, mixing quick-fire comic patois with pathos. Often in the same line. “Love is all very well but in the hands of people it turns to soup”. We laugh but we know it’s true. And the truth is there right up to the unsentimental unpredictability of the outcome. It is as human as you can get, matched by the performances. Daniel Healy’s ‘Guy’ is a beautifully studied portrayal of the wary, diffident troubadour who can really only belt out his true self in song. Emma Lucia beguiles as ‘Girl’; brutally honest and teasing yet vulnerable and tender. The equally magnificent supporting cast take on a variety of roles, in between which they pick up a variety of musical instruments to startling effect.

And this is where the show comes into the fore. The musicianship is faultless and under Peter Rowe’s stylised direction and Francesca Jaynes’ choreography the staging is beautifully crafted. The ensemble move as one with metronomic precision. Often such technical virtuosity can soften the emotional punch, but it is the music that ultimately leads us to the standing ovation this show deservedly receives. Rooted in Celtic folk and Irish culture it has a very contemporary feel, be it Indie-Folk, Indie-Rock, Folk-Rock or another combination. It wears its influences openly but there is no denying the heart-melting effect of the close harmonies and keening melodies. Lucia’s gorgeous solo rendition of ‘The Hill’, the ensemble, a Capella ‘Gold’, Healey’s tender, melancholic ‘Leave’ are but a few of the numbers that pave the way to the climactic, Oscar-winning ‘Falling Slowly’ which, once again, hits the jackpot.

‘Once’ is a musical that is anthemic and intimate. The lovelorn numbers may be predominantly in the minor keys, but the show is a major triumph.


Reviewed by Jonathan Evans

Photography by Mark Senior



Fairfield Halls until 11th January then UK tour continues


Last ten shows reviewed by Jonathan:
Endless Second | ★★★ | Pleasance Theatre | November 2019
Frankenstein | ★★★ | Richmond Theatre | November 2019
Heroin(e) For Breakfast | ★★★★★ | Pleasance Theatre | November 2019
High Fidelity | ★★★★★ | The Turbine Theatre | November 2019
Wireless Operator | ★★★★ | Pleasance Theatre | November 2019
42nd Street | ★★★★ | Upstairs at the Gatehouse | December 2019
Bells And Spells | ★★★★★ | The Coronet Theatre | December 2019
Teenage Dick | ★★★★ | Donmar Warehouse | December 2019
The Lying Kind | ★★★ | Ram Jam Records | December 2019
The Nativity Panto | ★★★★ | King’s Head Theatre | December 2019


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The Other Palace



The Other Palace

Reviewed – 9th April 2019



“Mrs Potter’s lemon meringue garnered a round of applause all of its own. As Bake Off’s success testifies, the Brits do love a cake.”


Nigel Slater’s autobiography was published to critical acclaim in 2003, and quickly went on to become a best-seller, further cementing Slater’s place in the nation’s heart. It was adapted into a film, shown on the BBC in 2010 before its cinema release a year later, and The Lowry last year commissioned this stage adaptation, which has landed at The Other Palace after a successful Edinburgh run at the 2018 festival. For those not already familiar with the events of Slater’s childhood – for it is this that Toast takes as its subject – he grew up in 60s suburban England, with a loving mother and a distant father. His mother died of asthma when he was still at school; his father remarried, to a woman who he didn’t like, and died a few years later, finally freeing him up to move to London and pursue the love of food and cooking that had always been with him, from his very earliest years.

The first thing to say about Toast is that it looks gorgeous. Scrumptious even. Good enough to eat. Libby Watson’s production design hits the perfect nostalgic notes, and Zoe Spurr’s ever-excellent lighting design is a superb demonstration of what lighting can do to lift and enhance the action on stage, and act as a subtle emotional guide for the audience. It was also a nice touch to enter with the smell of burnt toast in the air. And it felt right to see the young Nigel finally do some proper cooking at the end, wielding his knife like a pro, as the gorgeous smell of garlic in olive oil wafted out into the audience. The moments in which trays of sweet treats were handed out to the audience were less successful however, and an example of a device which might well have worked in a festival atmosphere but seemed forced and stilted in a London theatre. The cakes on stage were a different story though. Mrs Potter’s lemon meringue garnered a round of applause all of its own. As Bake Off’s success testifies, the Brits do love a cake.

We also love a bit of nostalgia. And this show unashamedly taps into that desire. There are some slickly choreographed movement sequences to enjoy, as you would expect given director Jonnie Riordan’s Frantic Assembly background, but they are essentially fillers, padding out a very straightforward A-Z linear structure, which is almost wholly driven by the young Nigel’s narration. Giles Cooper was clearly suffering from Press Night nerves last night, and will almost certainly warm into his performance as the run continues, but he has a hard task nonetheless, as he is basically the neutral narrative anchor around which the theatrical action pivots. Lizzie Muncey (Mum), Stephen Ventura (Dad), Marie Lawrence (Joan) and Jake Ferretti (Josh) all give polished, professional performances, but the show as a whole fails to get beneath the skin. There are laughs aplenty, particularly for those audience members of a certain age, for whom Nigel’s memories particularly resonate, but the more soulful moments are lost in the saccharine confection of the whole. There is an awful lot of sugar in this show; if you don’t have a sweet tooth, it’s probably not for you.


Reviewed by Rebecca Crankshaw

Photography by Simon Annand



The Other Palace until 3rd August


Previously reviewed at this venue:
Eugenius! | ★★★★ | February 2018
Suicide | ★★★½ | May 2018
Bromance: The Dudesical | ★★★★ | October 2018
Murder for Two | ★★★★ | December 2018
The Messiah | ★★★★ | December 2018


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