Tag Archives: Max Johns

WHY AM I SO SINGLE?

★★★★

Garrick Theatre

WHY AM I SO SINGLE? at the Garrick Theatre

★★★★

“an incredibly fun, comedic and beautifully heart-warming show that everyone can enjoy”

Toby Marlow and Lucy Moss’s ‘Why am I So Single?’ debuts in the West End, following the writers’ extremely successful ‘Six’. This new musical cleverly follows a meta portrayal of the pair exploring the issues of their love life and by proxy their own personal issues. The two best friends – under the pseudonyms ‘Nancy’ and ‘Oliver’ – sit in Oliver’s flat after being given the task of writing their next big fancy musical, and after various discussions of their failed dates decide that’s what the musical should be about. Through the medium of many a big fancy musical number, the conclusion of their failed love lives is far more heart-warming than one would expect.

The show opens with its meta framing of the narrative, with the writers talking to us directly through the characters. They state that all stories in the show are based on true events but with all people given different names. Set designer Moi Tran and costume designer Max Johns deserve so much credit for the way the stage moves from having literal set pieces and then ensemble actors seemingly transition to replace them. This was extremely enjoyable to watch and added a lot of fantastic comedic elements – my favourite being whenever the leads interacted with the human rubbish bin. The whole design of the show makes you feel like you’re at a party throughout – with the lighting (Jai Morjaria) primarily being a mix of pink and purple washes that change in time with the music.

The performances throughout the show are stellar and every single cast member is extremely committed. The ensemble shine throughout in both their musical and comedic performances. A mention has to go to Noah Thomas who plays Artie – an extremely strong performance that showed care and empathy for the leads while also telling them the truth when they need to hear it. One of his numbers is also a fantastic tap routine and a great tap routine is always a pleasure to watch. But, of course, the stars of the show are Jo Foster as Oliver and Leesa Tulley as Nancy. Both are incredibly powerful artists and were a pleasure to watch on stage. Foster particularly shines in the number ‘Disco Ball’, where they really are giving the audience everything and it’s such a privilege to be able to see such beautiful vulnerability on stage. Tulley’s performance also shows off her incredible vocal range and talent, and her solo ‘Lost’ brought many people in the audience to tears.

One of my favourite numbers was ‘Meet Market’ – not only a great song with fantastic routines on stage, but also great commentary on the dehumanising nature of dating apps. There were some songs that I felt weren’t necessary and took focus away from the main plotline. The main one I took issue with was a song about a bee, which seemingly is only in the show for the sake of one word play based joke. Unfortunate because two and a half hours already feels quite long for this show, so when the number played at the end of Act 1, I did begin to get quite restless.

‘Why am I So Single?’ is an incredibly fun, comedic and beautifully heart-warming show that everyone can enjoy. Musical theatre millennial fans will particularly enjoy the many show references and referrals to Friends. And with the West End musical scene sticking with its theme of even more movie musicals, it’s great to see something new and fresh bringing heart and soul into the theatre.


WHY AM I SO SINGLE? at the Garrick Theatre

Reviewed on 10th September 2024

by David Robinson

Photography by Danny Kaan

 

 

 

 

Previously reviewed at this venue:

BOYS FROM THE BLACKSTUFF | ★★★ | June 2024
FOR BLACK BOYS … | ★★★★ | March 2024
HAMNET | ★★★ | October 2023
THE CROWN JEWELS | ★★★ | August 2023
ORLANDO | ★★★★ | December 2022
MYRA DUBOIS: DEAD FUNNY | ★★★★ | September 2021

WHY AM I SO SINGLE?

WHY AM I SO SINGLE?

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The P Word

The P Word

★★★

Bush Theatre

THE P WORD at the Bush Theatre

★★★

The P Word

“To see the moments of queer joy that are portrayed here is truly a pleasure”

 

The P Word, written by Waleed Akhtar, finds itself caught in the space between a two hander and a series of monologues. The play remains grounded, however, by its layered character and their wit.

Bilal, played by Akhtar, details to the audience his experiences as a British Pakistani man in the gay dating scene. He lets his prejudices, fatphobia and islamophobia in particular, be known early on, as well as sources of their internalization. Zafar, played by Esh Alladi, arrives onstage mid-trauma: engaged in an unsuccessful bid to seek asylum in the UK, his partner murdered, his life endangered by a homophobic father were he to be deported to Pakistan. The play only kicks into gear, however, when the two characters bump into one another in the middle of Soho during Pride.

The set, designed by Max Johns, is minimal and elegant. A raised, circular, rotating platform, carries the characters temporally through the play. Each half of the platform tilts in the opposite direction, and LED light illuminates the outline of each semicircle, enclosing Bilal and Zafar in their disparate experiences for the first half of the play. Small compartments built into the set facilitate quick changes, allowing both actors to remain onstage for the duration of the play. These transitions, however, can feel rushed, more marked than they are performed.

Before Bilal and Zafar meet, they communicate exclusively in parallel monologue. Most of the unseen characters in Zafar monologues—a stranger, his mother, a healthcare worker—make their presence known through voiceover. Akhtar steps outside of Bilal’s character with more regularity, voicing his hookups and co-workers, lending his monologues the quality of a one-person show. This particular directorial choice by Anthony Simpson-Pike could be intended to further distinguish Bilal and Zafar’s narratives, but it results in a garbled theatrical language. The formal discrepancy, along with the duration of the parallel monologue sections, lends a dragging and uneven quality to the first half of the play, despite strong performances from Akhtar and Alladi.

Even after Bilal and Zafar have had their chance encounter and begin to share scenes, these parallel monologues persist. The two characters frequently break from engaging moments of dialogue to speak directly to the audience, halting the pace of the second half. The P Word finds its emotional core within the extended and mostly uninterrupted scenes between Bilal and Zafar. Bilal confronts his internalized prejudices, while Zafar begins to heal from the murder of his partner, Haroon. These scenes are both tender and emotionally fraught, blissfully banal and high stakes. To see the moments of queer joy that are portrayed here is truly a pleasure.

In The P Word’s final moments, following a somewhat sensationalized and romanticized conclusion, the world of the play briefly cracks. Though the break seems to be inspired by works such as Jackie Sibblies Dury’s ‘Fairview’, it reads more like an admission than it does a true confrontation, inadvertently letting the audience and performance off the hook.

 

 

Reviewed on 14th September 2022

by JC Kerr

Photography by Craig Fuller

 

 

Previously reviewed at this venue:

 

Favour | ★★★★ | June 2022
Lava | ★★★★ | July 2021

 

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