Tag Archives: Oliver Savile



The Other Palace



The Other Palace

Reviewed – 5th September 2019



“The strong performances cannot mask the fact that Falsettos feels disparate, and as though it’s lacking a voice”


Falsettos opens with Four Jews in a Room Bitching. Or that’s the name of the opening number, anyway. It’d be difficult to tell otherwise, since it’s not especially clear where they are, or why they’re there. And they don’t even appear to be doing much bitching. Although this musical’s no stranger to it, as anyone who’s been on Twitter in the past few weeks will know that it’s been mired in controversy for its lack of Jewish representation in a story that allegedly pivots around Judaism. That certainly didn’t seem to be the focal point of this production, however, but then it’s also difficult to say what was.

Originally conceived as a trilogy of one-act musicals by William Finn and James Lapine, Falsettos is a conglomeration of In Trousers, March of the Falsettos, and Falsettoland. It centres on Marvin (Daniel Boys), a man trying to maintain his relationship with his ex-wife Trina (Laura Pitt-Pulford) and son Jason (Albert Atack in this performance) after having come out as gay and left them for his boyfriend Whizzer (Oliver Savile). Things take a further complication when Marvin’s shrink Mendel (Joel Montague) becomes romantically involved with Trina, as the show reflects on the wealth of different loves one can experience, and the non-conventional forms it can blossom in.

While its depiction of homosexuality and non-traditional families may have been controversial in the ’80s when March of the Falsettos debuted, the messy story leaves it feeling lacking in substance in today’s (slightly) more accepting climate. It’s hugely noticeable that Falsettos is three musicals stitched together, as characters leap from moment to moment in their arcs without any time being allowed to let these changes develop organically, or for them to settle effectively. The love between Mendel and Trina, for example, feels unearned when most of the buildup is Mendel lecherously fantasising about her during his meetings with Marvin. Finn’s music, too, robs a number of scenes of their emotional heft as nigh-on every song takes on a quirky, light-hearted tone – the impact of darker elements such as domestic violence and terminal illness is completely undermined when underscored by major chords.

However, in a number of moments, the levity of the music, as well as its enjoyably unpredictable use of tempo and key changes, is utilised excellently in numbers such as The Baseball Game, and Pitt-Pulford delivers the stand-out performance in I’m Breaking Down. Boys has superb comic timing, and the mesh of the company’s voices is truly beautiful, although two of them – lesbian couple Cordelia (Natasha J Barnes) and Charlotte (Gemma Knight-Jones) – don’t appear at all until the second act – another sign of the unpolished unification of separate pieces.

The strong performances cannot mask the fact that Falsettos feels disparate, and as though it’s lacking a voice. The chessboard set from PJ McEvoy is superfluous, trying to force a metaphor that simply isn’t in the text, and Tara Overfield-Wilkinson’s direction favours chasing laughs over emotional honesty. Whether these issues stem from the absence of Jewish voices in the rehearsal room, or are just an overall problem with the production will no doubt be the subject of further Twitter debates – either way, Falsettos is missing the specificity that lets it truly land.


Reviewed by Ethan Doyle

Photography by The Standout Company



The Other Palace until 23rd November


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
Toast | ★★★ | April 2019


Click here to see our most recent reviews


Knights of the Rose – 3 Stars


Knights of the Rose

Arts Theatre

Reviewed – 5th July 2018


“The show did not give off a slick West End musical vibe, rather it radiated a pantomime like energy”


Knights of the Rose is a new musical created by Jennifer Marsden and directed by Racky Plews. The musical is a take on many of Shakespeare’s romances mashed together to 80s pop rock, set in a Camelot style kingdom, with the focus characters being members of the house of Rose. Royalty and knights alike.

I arrived with no expectations for this show. My first thoughts, was that it seemed laboured. The show did not give off a slick West End musical vibe, rather it radiated a pantomime like energy. With laughter arriving in unexpected places, I was unsure if it was supposed to be funny, or if the corniness of the music became too much for the audience. However the cheesiness of 80s pop rock, was matched well in some moments with the melodramatic Shakespearean style and narrative. The story mashed up all of Shakespeare’s great love stories, and threw in some Macbeth and Lord Byron. The literary references were a nice concept, however occasionally executed sloppily. An ailment that plagued a few different aspects of the musical.

I was surprised to find out after I’d seen the show, that it was created and directed by women. As the narrative was so male centric, and the most empowering moment for the three main female roles, was when they sang ‘Holding out for a Hero’ – a song about finding a man. However, the performances by the three main women, Katie Birtill, Rebekah Lowings and Bleu Woodward, who played Princess Hannah, Lady Isabel and Emily respectively were fantastic. All three had a brilliant presence on stage and very powerful voices. And despite my qualms about the song, it was one of my favourite moments of the evening.

Andy Moss, Chris Cowley and Oliver Savile were worthy counterparts as Prince Gawain, Sir Palamon and Sir Hugo respectively providing a dark yet charming aura to the piece. A special mention has to be made for Matt Thorpe, Sir Horatio and Ruben Van Keer, John, who both portrayed very endearing characters with beautiful voices. Thorpe was particularly powerful in his number ‘Always’

The performance by the cast, and musicians was fantastic. However it was let down by the fact that I didn’t know what it was trying to do. And I don’t think the show did either. It had a lot of ideas, and almost falls into the trap of being ‘too much’, especially in production value in this case. All said and done It was an enjoyable evening, even if it doesn’t pass the Bechdel test.


Reviewed by Charlotte Hurford

Photography by Mark Dawson


Arts Theatre link

Knights of the Rose

Arts Theatre until 26th August



Click here to see more of our latest reviews on thespyinthestalls.com