★★★★

“a magnificent spectacle of a classic play that continues to engage”

J B Priestley’s ‘An Inspector Calls’ continues its over 30 year run on tour this year, and I was lucky enough to see it played at Alexandra Palace. Like most people, I first read (and adored) the play at 15 for my GCSEs, however, I never got a chance to see it until now. I’m glad to say my high expectations were not disappointed.

It’s 1912 and the upper class Birling family are celebrating the engagement of Sheila Birling and Gerald Croft over dinner. Yet, their celebrations halt when Inspector Goole pays them a visit, and informs them of the death of a local lower class woman. Through his investigation of the family, they become shaken by their involvement in the woman’s life and their clear contributions to her death.

The play is none traditional in its portrayal of the text. The family’s introduction is framed from an outsider’s perspective – due to the fantastic design of Ian MacNeil. A house where the Birling’s is hoisted above the stage, which appears as a destroyed and blackened street. The opening scene is played within the house, while others watch them on the street. An interesting portrayal of the hierarchical society in which we live. I was a little apprehensive at this point, however, due to the overuse of haze on stage that practically blocked all sightlines, while it was also quite hard to hear the actors’ dialogue. Mics are used, but I fear they were too quiet against the echoey space. I think the opening scene is key in introducing the characters, setting up the context and foreshadowing the events of the play, so I would have liked the scene to be visible, rather than wholly playing inside the rather small house. Instead, the set opens up when the Inspector is introduced to the family and – to my relief – the majority of the action takes place downstage.

The cast, with polished direction from Stephen Daldry, shine in their individual roles, with Tim Treloar portraying a highly energetic and unapologetic Inspector Goole. Jeffrey Harmer also stands out as Mr Birling, bringing a lovely sense of youth and charm to a role one would often only see as a boring and business focused villain. The stand out performance for me, however, was Leona Allen as Sheila – a strong portrayal of a woman who is still so childlike in her behaviour, desperately yearning to be heard.

The costumes are traditional to the era of the play – the men wear trim suits perfect for a dinner party. Sheila of course wears an all white gown, perhaps signifying her future marriage or perhaps her innocence. It gets dirtied in the rain, however, once she begins to discover the consequences of her past actions – so I would say the latter. Mrs Birling wears a very glamorous deep red and black gown and is well decorated in pearls and other accessories. Such vampish glamour would appear similar to the ‘evil queen’ characters of many fairytale depictions.

Overall, the show is a magnificent spectacle of a classic play that continues to engage audiences. It’s important to note, that every other review I’ve seen – which date back many years – all state the play is ‘more relevant now than ever’. With the gap between the rich and poor arguably being the same now as it was in the time the play is set, that is especially true in this revival. In the 30+ years this iteration of the show has been performed, it appears the class divide has only gotten worse. One hopes a day will come when the play is not as pertinent as it is today.

MEAN GIRLS at the Savoy Theatre

★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

In case you’ve been living under a rock, this show is a Covid delayed U.K. premiere of the smash hit US musical, based on the hugely successful film of the same name.

The plot sticks closely to the film. Cady Heron (Charlie Burn) is a new kid at an American high school, having been home schooled in Kenya up until now. She must choose between authentic outsiders, Janis (Baylie Carson) and Damian (Tom Xander), or the poisoned chalice of popularity that comes with being one of ‘The Plastics’. The romance plot is more central than in the film, with Cady’s main motivation being her infatuation with fellow calculus student Aaron (Daniel Bravo).

Mean Girls marks another in a current trend of film to stage adaptations, which seem to be driven, at least in part, by the temptation of an existing fan base. Certainly, as I join a small army of pink clad women (it’s a Wednesday, so we’re all wearing pink) marching towards the theatre, this plan seems to have paid off.

There’s a worry it will feel like a soulless shell of the film. But it doesn’t. The book, written by Tina Fey, who wrote and acted in the film, is smart and witty. It’s updated, with fresh and current jokes (references to Ozempic and Get Ready with Me videos) but keeps the fan favourite one-liners from the film. With clever lyrics by Nell Benjamin and music written by Fey’s husband Jeff Richmond, the show delves further into these characters who are beloved by the fan base.

The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it. Each character has a different musical style which allows the actors to stand out, each thriving in their niche.

Tom Xander as Damian is wondrously campy and fun. Every moment with him is a scene stealer. At one point he steals a mobility scooter, which results in some glorious physical comedy. Baylie Carson smashes it as Janis, standing in for Elena Skye for this performance. It’s a tricky part and they own it, giving Janis her own flair amongst bigger more flamboyant characters. Georgina Castle as the iconic Regina George is fabulously evil, Disney villain meets Instagram influencer. She has a captivating stage presence. Grace Mouat as Karen has fabulous comic timing, and her physical comedy is on point. Also, Zoë Rainey as all three of the ‘grown up’ women dazzles in her multi rolling, turning each caricature up to the max.

Scott Pask’s set design combined with Finn Ross and Adam Young’s video design is as much a nod to the film as the plot. Settings are projected onto huge screens, calling into question that line between film and theatre. Sometimes it’s backdrops, sometimes photos of the cast, of the Burn Book, and sometimes (like in a brilliant evocation of a photocopier) it’s a theatrical wonder. It doesn’t do it for me, but it does feel fresh.

Under this show’s joyous silliness, there’s an important message about female solidarity. It would be interesting to know how it plays for people who don’t know the film. But for fans, and there are many, it’s a delicious night of fetch-y fun.

AN INSPECTOR CALLS at the Alexandra Palace Theatre

★★★★

“a magnificent spectacle of a classic play that continues to engage”

AN INSPECTOR CALLS at the Alexandra Palace Theatre then UK tour continues

Reviewed on 4th September 2024

by David Robinson

Photography by Mark Douet

Previously reviewed at this venue:

AN INSPECTOR CALLS

AN INSPECTOR CALLS

MEAN GIRLS at the Savoy Theatre

★★★★★

“The performances are rich and joyous. It’s hard to take a part that’s so familiar and make it your own, but this cast does it.”

MEAN GIRLS at the Savoy Theatre

Reviewed on 10th July 2024

by Auriol Reddaway

Photography by Brinkhoff/Mögenburg

Last month’s top shows:

MEAN GIRLS

MEAN GIRLS