Tag Archives: New Theatre Royal Portsmouth

KNEES UP!

★★★

New Theatre Royal Portsmouth

KNEES UP!

New Theatre Royal Portsmouth

★★★

“Portsmouth’s cabaret and drag scene is clearly thriving, and Knees Up! was a glittering celebration of its wild, weird, and wonderful talents”

Knees Up! from queer theatre company Downtown Pompey promised high-energy, over-the-top entertainment – and it delivered. With a line-up bursting with local drag royalty and a headline performance from cabaret icon Joe Black, the show combined camp, kitsch, and a touch of chaos in the best possible way.

The evening opened with a thoughtful surprise: poet and visual artist Majid Dhana appeared in one of the theatre’s boxes to read a witty and reflective poem on creative expression and community. An unexpected but inspired start, it set the stage for a night where anything could happen – and often did.

Bradley Jago took to the stage, beginning what seemed to be a solo rendition of Downtown until the red velvet curtain parted to reveal the Solent Gay Men’s Chorus, kicking off the night with a heart-warming moment.

Hosts The Fabulous Josh and Cherry Liquor set the tone with their anything-can-happen dynamic. Their 16-year friendship gave them licence to fire playful jabs at each other’s dazzling outfits (The Fabulous Josh in a shimmering silver jumpsuit, Cherry Liquor slinking onto the stage in a sequined dress) and drag acts. While some scripted jokes didn’t quite land, their off-the-cuff banter crackled with energy. Taking inspiration from Saturday night telly, the duo reminisced about old game and talent shows before settling onto a sofa – alongside The Fabulous Josh’s mother-in-law and mum – to watch the evening’s acts unfold. The line-up featured a mix of established and emerging artists, the latter nurtured through Downtown Pompey’s Arts Council-funded community work.

Nathan Shay, one of the emerging talents, stepped into the spotlight as a Pierrot-style mime, performing to a spoken-word track before transitioning into a dramatic lip-sync. As they shed elements of their costume, they theatrically removed their “heart” and “entrails,” handing them to the mothers on the sofa before revealing a striking bodysuit adorned with muscles and bones. Kirsty Mitchell, another emerging artist, is a support worker by day and comedian by night. In the second half, she delivered an entertaining stand-up set drawing on experiences of addiction, sobriety, working-class life, and, of course, Pompey. Her sharp observations and natural comedic timing won over the audience.

The evening featured two stylish lip-syncing drag acts, each bringing its own distinct flair. Cherry Liquor captivated the audience with a cheeky double bill of performances, including a playful rendition of Tropical Heatwave, exuding a Marilyn Monroe-inspired allure. Adding to the spectacle, Portsmouth-based drag artist Azure Thang and the Synchettes, a quartet of dancers, infused the night with a mix of comedic slapstick and polished choreography. Meanwhile, Tayris Mongardi, the self-proclaimed Powerhouse of Colour and queen of Afro-punk camp, dazzled in silver, delivering a high-energy set that seamlessly blended dance and lip-sync artistry.

Beyond drag, Knees Up! showcased a diverse range of performances from Portsmouth’s vibrant arts community. The Portsmouth Chinese Dancing Group brought elegance and tradition with their three beautifully executed numbers. The Solent Gay Men’s Chorus opened the second act with a medley featuring The Rocky Horror Picture Show, the Spice Girls’ Spice Up Your Life, Madonna’s Like a Prayer, Radiohead’s Creep, and Kylie Minogue’s Your Disco Needs You. Spanning generations, their enthusiasm and choreography made them a joy to watch.

Joe Black’s headline performance, closing the first half, was the undisputed highlight of the evening. A true Portsmouth original, he was a local character long before his cabaret fame, recalling how he once strolled the streets with his cat in tow. His signature mix of vaudeville, musical comedy, and devilish wit had the audience in stitches. He delivered hauntingly hilarious renditions of Spice Up Your Life and When I’m Cleaning Windows, re-imagined in the style of Mack the Knife in a 1920s Weimar nightclub – equal parts macabre and magnificent. His tale of an ill-fated Halloween gig in a Newcastle nightclub, where he was not what the crowd expected, was a comedic standout, culminating in a dramatic recreation of the moment he “wished he was dead,” performing Marlene Dietrich’s Falling in Love Again, complete with DJ sound effects from the night. He rounded off his set with a deliciously demented send-up of Edith Piaf’s Je Ne Regrette Rien with Bill Burnett’s I Regret Everything.

The show ended on a high with a grand finale, as The Fabulous Josh and Cherry Liquor showcased their vocal talents and comedic timing, leading the Synchettes, Azure Thang, and Tayris Mongardi in a rousing rendition of Hey Big Spender from Sweet Charity.

While the show revelled in its chaotic, anything-goes spirit, some shifts in style and tone between acts felt uneven, and at over three hours, the energy occasionally dipped. However, Knees Up! never lost its sense of fun, with an audience more than willing to embrace the ride. Portsmouth’s cabaret and drag scene is clearly thriving, and Knees Up! was a glittering celebration of its wild, weird, and wonderful talents.



KNEES UP!

New Theatre Royal Portsmouth

Reviewed on 22nd March 2025

by Ellen Cheshire

 

 


 

 

Previously reviewed at this venue:

BEAUTY AND THE BEAST | ★★★★ | December 2024

KNEES UP!

KNEES UP!

KNEES UP!

TESS

★★★★

UK Tour

TESS

New Theatre Royal, Portsmouth

★★★★

“The direction is expertly crafted, ensuring that every movement and physical interaction serves a purpose”

Ockham’s Razor has achieved something extraordinary with Tess, a bold and breath-taking adaptation of Thomas Hardy’s Tess of the D’Urbervilles that fuses theatre, movement, and contemporary circus to re-imagine Hardy’s 1891 tragic novel. Through inventive staging and visceral physicality, the company distils this tale of endurance, injustice, and resilience into something immediate and deeply affecting.

The story follows Tess Durbeyfield, a young woman from a poor rural family who is sent to seek kinship with the wealthy D’Urbervilles after her father learns of their supposed aristocratic lineage. There, she falls prey to the manipulative Alec D’Urberville, an event that alters her life forever. Seeking a fresh start, she later finds love with the idealistic Angel Clare, but when he learns of her past, his rejection leaves her struggling to survive in a world that offers her little compassion. As Tess fights against the rigid moral codes of Victorian society, she finds herself once more in Alec’s grasp, leading to a final desperate act that seals her fate.

The striking set design of shifting wooden planks, towering walls, and billowing linen is integral to the storytelling, creating a constantly evolving landscape that mirrors Tess’s emotional and physical journey. The performers interact seamlessly with their surroundings, swinging, climbing, and manipulating the set with an urgency that reflects her struggles. Production designer Tina Bicât keeps the staging simple yet evocative, while Aideen Malone’s lighting and Daniel Denton’s projections shift fluidly to enhance the ever-changing atmosphere.

The cast of seven deliver extraordinary performances, both physically and emotionally. Tess is portrayed by two performers: Lila Naruse, who serves as the narrator, recounting her story with a soft West Country lilt while slipping in and out of dialogue, and Anna Crichlow, who embodies Tess’s physical journey through movement, expressing her emotions with acrobatics and dance. Their dual performance is quietly powerful with one Tess speaking, while the other relives events with no ability to change them. A particularly moving moment comes when one Tess reaches out to hold the other’s hand in silent support, reinforcing the sense of inevitability that haunts her story.

The predatory Alec D’Urberville is played with an unsettling charisma by Joshua Frazer, while Angel Clare is brought to life with both idealism and naivety by Nat Whittingham, making his betrayal all the more painful. Both actors also take on ensemble roles, and particularly in Frazer’s case, it is striking to see how posture, movement, and a quick costume change transform him from one of Tess’s mischievous younger siblings into a predatory seducer.

Lauren Jamieson, Victoria Skillen, and Leah Wallings play multiple roles throughout, from the romping Durbeyfield children to barroom brawlers, but particularly shine in two comedic sequences as the trio of dairymaids vying for Angel’s attention.

The adaptation, by directors Alex Harvey and Charlotte Mooney, streamlines the novel’s plot while maintaining its emotional depth. Tess’s journey is strikingly depicted, for instance, her initial trip to the D’Urbervilles sees her navigating an intricate sequence of angled planks, with projected mountain ranges behind her emphasising the sheer scale of her world. This is later mirrored when she flees from Alec, retracing her route backwards, a breathtakingly choreographed sequence performed in reverse that heightens the sense of her desperation.

One of the production’s most visually powerful moments comes during Alec’s seduction of Tess, represented through a Cyr wheel routine. What starts as a peacocking display of skill becomes something darker as Alec lures Tess into his orbit, quite literally drawing her into his circle, trapping her. Their final encounter, which drives Tess to flee, is almost unseen, shrouded in darkness and accompanied by an unsettling soundscape. With one Tess watching helplessly as events unfold, reinforcing how ingeniously this dual portrayal captures the inevitability of her fate.

The direction is expertly crafted, ensuring that every movement and physical interaction serves a purpose. The integration of circus arts is not just for spectacle but a vital storytelling tool, making Tess’s struggles feel immediate and visceral. The music and sound design by Holly Khan further heighten the drama, weaving folk-inspired melodies with an atmospheric score that underscores Tess’s emotional journey. The costumes, designed by Bicât, balance historical authenticity with functionality, allowing the performers full range of movement while remaining firmly rooted in Hardy’s world.

This production masterfully transforms Hardy’s prose into something immediate and deeply affecting, distilling its themes of power, privilege, consent, and female agency (or lack thereof) in a way that still resonates today. Through bold direction, inventive staging, and an emotionally rich interpretation, Tess proves that even the darkest of literary classics can be re-imagined with breath-taking vitality.



TESS

New Theatre Royal, Portsmouth then UK Tour continues

Reviewed on 25th February 2025

by Ellen Cheshire

Photography by Kie Cummings

 

 

 

 

Previously reviewed at this venue:

BEAUTY AND THE BEAST | ★★★★ | December 2024

 

Tess

Tess

Tess