Luke Sheppard Archives - Page 3 of 6

My Son’s A Queer, But What Can You Do?

The Turbine Theatre

Reviewed – 23rd June 2021

★★★½

“Twelve-year old Rob is living the dream, and they’re inviting you, pick ‘n’ mix in hand, to watch”

All future productions, please take note: I absolutely accept bribes, in this instance a tub of pick ‘n’ mix waiting on my seat, particularly if it’s the fancy kind with chocolate-covered honeycomb and giant squishy jelly babies, which this was.

As it happens, a tub of fancy pick ‘n’ mix (provided for the whole audience) pairs exceptionally well with this evening’s gloriously kitsch, luxuriously self-involved, super extra display.

Using childhood home videos of Rob Madge directing their mum, dad, gran and grandad (and on one occasion aunts, uncles and cousins) in fully scripted, blocked and costumed productions, we’re guided through the seven steps to putting on a seamless Disney parade through gran’s hallway.

In doing so, Rob talks us through their journey of self-discovery and, despite the very best support from their family, battling society’s seemingly insatiable need to try and crush the sparkle out at a very young age.

On the one hand, this is a totally relatable story for anyone who doesn’t fit the mould, who was told they’d be better off trying to blend in than just be themselves. On the other, this is the most self-indulgent endeavour, in much the same way of a child’s living room show which, one supposes, is sort of the point. Regardless, it does feel a bit like it was created with mainly friends and family in mind who, no doubt, will have had the best time ever watching their beloved retrace their steps to their fabulous present selves.

And Rob is absolutely fabulous, as both a bossy 12-year-old sliding down the banister in full Mary Poppins get-up, and standing before us this evening, rocking a petticoat with confetti-filled pockets, and splicing family videos with belting, Broadway-like numbers.

Ryan Dawson Laight’s living room stage design is appropriately phantasmagoric: a set of draws turns into a showtime set of stairs, beneath an armchair hides a glittering golden runway, and tucked inside a TV cabinet is a set of disco lights and metallic streamers.

Costume changes, whilst far from seamless, are brilliant in their homespun charm: Maleficent’s fierce cape billows away to reveal Belle’s sunflower yellow dress, which tears off to unveil Ariel’s shell bra and shining tale.

And this is really the main difference between Rob’s homemade Disney parade over a decade ago and tonight’s performance: the full force of a professional production, replete with director (Luke Sheppard), lighting designer (Jai Morjaria), composer (Pippa Cleary) and projection designer (George Reeve). This is what happens when you give a brilliant, flamboyant twelve-year-old creative control and a budget. Twelve-year old Rob is living the dream, and they’re inviting you, pick ‘n’ mix in hand, to watch.

Reviewed by Miriam Sallon

Photography by Mark Senior

My Son’s A Queer, But What Can You Do?

The Turbine Theatre until 3rd July

Other shows reviewed by Miriam this year:

Tarantula | ★★★★ | Online | April 2021

Reunion | ★★★★★ | Sadler’s Wells Theatre | May 2021

Click here to see our most recent reviews

Rent

Online via Hope Mill Theatre

Reviewed – 24th November 2020

★★★★★

“At over two hours long, Luke Sheppard’s punchy direction never lets the show drag for a second”

The story behind the inception and eventual opening of “Rent” twenty-five years ago is almost worthy of a musical in itself. Waiting on tables in Manhattan ‘Hell’s Kitchen’ neighbourhood amid the homelessness, punks, addicts and drag queens, young composer Jonathan Larson sweated through the nights writing hundreds of songs, most of which wouldn’t make it to the final cut. When it finally reached its premiere, it attracted press attention on account of opening night falling exactly one hundred years after Puccini’s “La Bohème”, on which “Rent” is loosely based. Leaving the offices of The New York Times, Larson was upbeat, enjoying the dizziness of first night nerves. But that dizziness was concealing a misdiagnosed condition. Larson never made it to the theatre that evening.

Over quarter of a century later Larson’s legacy still continues to burst with energy each time it is revived on the stage. The Hope Mill Theatre’s production is no exception with its intimate and raw staging that is fresh and unique while still remaining faithful to the qualities that powered its original success on Broadway. It’s been a tough journey for the creative team. Scheduled to run this summer, lockdown pushed that back to October, only for it to close after five nights. But before the theatre went dark again it was captured on film by the innovative film company ‘The Umbrella Rooms’ and can now be seen online for a limited period.

The show’s raggle-taggle narrative centres on the tangle of mangled romantic friendships, telling the story of impoverished young artists struggling to survive and avoid eviction; particularly aspiring film maker, Mark, and his song-writer flatmate Roger, who is struggling to complete his ‘one great song’. Characterisation and plot may spend most of the time in the wings, but it is the music that grabs the spotlight, and the fiery dynamism that the cast bring onto the stage. During production, the cast all lived together in a (very noisy) twelve-bedroom house, and the chemistry, conviction and commitment that this would generate clearly shows. Nobody ever leaves the stage, and when not directly in the thick of it the cast watch from the shadows, still acting and reacting.

At over two hours long, Luke Sheppard’s punchy direction never lets the show drag for a second; turbo charged by Musical Director Chris Poon and his pumping five-piece rock band; and Tom Jackson Greaves’ sawtooth sharp choreography. There are a lot of numbers in this show and the cast are on a mission to get through them all. The breathlessness gives way to moments of humour, which in turn bleed into the sad songs, which is where the true emotional kick is felt. Dom Hartley-Harris, as the vagabond anarchist Tom Collins, cuts the atmosphere, and your heart, with a knife during the beautiful ‘I’ll Cover You’ at the funeral of his lover, Angel; powerfully played by the velvet-voiced Alex Thomas-Smith. Millie O’Connell is wonderfully eccentric as experimental performance artist, Maureen, who meets her match in lover Joanne (Jocasta Almgill) during the wonderful ‘Take Me or Leave Me’. Maiya Quansah-Breed’s Mimi commands the space with a sassy swagger weighed down by vulnerability and addiction, while Ahmed Hamad relishes his Ebenezer arc from bad guy to good as Benny. This is a show where the chorus is as crucial as the principals, and the vast array of talent is on clear display throughout. Featured ensemble Kayla Carter, for example, bursts through into the foreground with stunning, soaring vocals during ‘Seasons of Love’, the anthemic opener to the second act.

Central to the story are the joint protagonists, Mark and Roger. Blake Patrick Anderson’s performance illuminates the stage, extremely comfortable and assured with complete control of the soaring notes he aims so high for. Tom Francis is equally memorable as the more brooding songsmith, Roger, eventually finding his muse in Mimi. As he sings the achingly beautiful ‘Your Eyes’ we wonder if it is all too late.

“Rent” is the real Fairy Tale of New York. Exhilarating and poignant. Over a quarter of a century old but still as fresh and timely as ever. “How do you measure a year in a life?” asks the lyrics in the iconic ‘Seasons of Love’. A lot of us are asking how we can measure this past year of ours. Whatever conclusion we make, “Rent” is certainly a fine conclusion to the year in the run up to Christmas, with its relevant, relatable and wretched optimism.

The Turbine Theatre

Reviewed – 23rd June 2021

★★★½

“Twelve-year old Rob is living the dream, and they’re inviting you, pick ‘n’ mix in hand, to watch”

All future productions, please take note: I absolutely accept bribes, in this instance a tub of pick ‘n’ mix waiting on my seat, particularly if it’s the fancy kind with chocolate-covered honeycomb and giant squishy jelly babies, which this was.

As it happens, a tub of fancy pick ‘n’ mix (provided for the whole audience) pairs exceptionally well with this evening’s gloriously kitsch, luxuriously self-involved, super extra display.

Using childhood home videos of Rob Madge directing their mum, dad, gran and grandad (and on one occasion aunts, uncles and cousins) in fully scripted, blocked and costumed productions, we’re guided through the seven steps to putting on a seamless Disney parade through gran’s hallway.

In doing so, Rob talks us through their journey of self-discovery and, despite the very best support from their family, battling society’s seemingly insatiable need to try and crush the sparkle out at a very young age.

And Rob is absolutely fabulous, as both a bossy 12-year-old sliding down the banister in full Mary Poppins get-up, and standing before us this evening, rocking a petticoat with confetti-filled pockets, and splicing family videos with belting, Broadway-like numbers.

Ryan Dawson Laight’s living room stage design is appropriately phantasmagoric: a set of draws turns into a showtime set of stairs, beneath an armchair hides a glittering golden runway, and tucked inside a TV cabinet is a set of disco lights and metallic streamers.

Costume changes, whilst far from seamless, are brilliant in their homespun charm: Maleficent’s fierce cape billows away to reveal Belle’s sunflower yellow dress, which tears off to unveil Ariel’s shell bra and shining tale.

Reviewed by Miriam Sallon

Photography by Mark Senior

My Son’s A Queer, But What Can You Do?

The Turbine Theatre until 3rd July

Other shows reviewed by Miriam this year:

Online via Hope Mill Theatre

Reviewed – 24th November 2020

★★★★★

“At over two hours long, Luke Sheppard’s punchy direction never lets the show drag for a second”

Reviewed by Jonathan Evans

Photography by Pamela Raith

Rent

Online via Hope Mill Theatre until 20th December

Recently reviewed by Jonathan:

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