Tag Archives: Robert Boulter

The Jazz Age


The Playground Theatre

The Jazz Age

The Jazz Age

The Playground Theatre

Reviewed – 15th October 2019



“Jana Robbins and Anthony Biggs’ direction is jaw-droppingly masterful”


“The New Yorker called him a 44 year old unemployed screenwriter from a forgotten era. The Jazz Age, they called it.” So says Ernest Hemingway about his friend F. Scott Fitzgerald in Allan Knee’s new play, The Jazz Age. It’s a quote dripping with delicious irony, as neither Fitzgerald, The Jazz Age nor Knee’s tribute of the same name are in any way forgettable.

The play follows the lives of the two writers who arguably encapsulated The Jazz Age more than anyone else – Hemingway (Jack Derges) and Fitzgerald (Robert Boulter), as well as Scott’s wife Zelda Fitzgerald (Hannah Tointon). Set mostly in Paris during the Roaring Twenties, the story closely recounts the tale of the trio’s young lives, particularly focusing on the complex relationship between them. Beginning with Scott’s scouting of Hemingway and Scott and Zelda’s whirlwind romance, the narrative continues with Hemingway’s rise to fame, Scott’s downwards spiral into self-pity and alcoholism and Zelda’s ever loosening grip on her own sanity.

Scott credits Hemingway as “holding a mirror up to the world and writing what you see,” a metaphor which also applies here – the story is written with clarity and panache whilst the attention to detail is absolutely spot on. From the moment the audience enters they are transported into a twenties Parisian Jazz club, Darren Berry’s three piece band enticing them in with sultry, buttery-smooth tones whilst Gregor Donnelly’s grandiose design wows them. Cabaret tables peppering the front row are a particularly pleasing touch – what better way to immerse the viewer into the play’s world than to make them part of the set?

As one might expect, the music is part of what makes The Jazz Age such a joyously stimulating experience – like icing on a cupcake, you’d notice if it wasn’t there. Never superseding, it is woven into the fabric of the play and evolves with the scenes it introduces – sometimes upbeat and fun, sometimes gentle and beautifully wistful. Its utilisation for changes in setting allows the story to seamlessly flow whilst making sure that classy Cabaret atmosphere never slips.

The stars of the show, however, are the characters themselves. Jana Robbins and Anthony Biggs’ direction is jaw-droppingly masterful – this is as close as you’re going to get to seeing Scott, Zelda or Hemingway actually come back to life. Boulter’s Scott is initially cocksure and arrogantly naïve, particularly apparent in his brazen forwardness towards Zelda during their first encounter, however Boulter’s transformation into the hollow, quivering spectre Scott becomes later on is measured impeccably and heart-breaking to witness. Tointon beautifully embodies the flapper girl Zelda, moving playfully yet gracefully and truly bringing the rhythm of the music to life. It is never one note however – Zelda may at one point be oozing with seductive charm and then suddenly switch into a complete manic breakdown, making her mesmerising to watch.

Derges’ Hemingway is quite simply breathtaking. Seldom have I seen an actor master the dry wit in a play like Derges does here. Every savagely witty putdown is timed effortlessly and laced with a palpable weariness and nonchalance. Hemingway’s overt machoism is never shied away from either and his cool confidence contrasts spectacularly to Scott’s nervous energy. The friendship between the two writers is definitely the most believable part of The Jazz Age and is what makes the final moments so beautifully poignant.

What’s really great is that you don’t need to know anything about the actual lives of these characters to feel a deep affinity with them. You can simply sit back, let the music seduce you and enjoy being whisked away to The Jazz Age for one evening. I urge everyone to go and watch it – it’s sublime.


Reviewed by Sebastian Porter

Photography by Robert Workman


The Jazz Age

The Playground Theatre until 19th October


Previously reviewed at this venue:
Fanatical – the Musical | ★★★ | November 2018
Sacha Guitry, Ma Fille Et Moi | ★★★½ | January 2019
My Brother’s Keeper | ★★★★ | February 2019


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The Inheritance – 4 Stars


The Inheritance

 Noël Coward Theatre

Reviewed – 13th October 2018


“Seeing a play on the West End that so unashamedly and honestly tackles gay male relationships (sexual and otherwise) feels in itself a remarkable achievement”


Epic in almost every sense of the word, ‘The Inheritance’, now enjoying a West End transfer after a sell-out run at the Young Vic, demands seven inspiring, moving, riveting hours to tell a story about how stories are shaped, and how they in turn shape those who listen to them.

A group of men are trying to tell their life stories but need help. Enter E. M. Forster, whose ‘Howards End’ forms the basis of Matthew Lopez’s ‘The Inheritance’, to help the boys along. Expertly played by Paul Hilton, ‘Morgan’ – with the help of the cast – becomes our narrator, introducing us to Toby Darling (Andrew Burnap) and Eric Glass (Kyle Soller), whose rocky relationship the play centres around. Taking place almost entirely in Manhattan, New York, the couple face eviction, jealousies, successes and failures, all the while embracing and reflecting upon the lives of gay men over the last hundred years with each other and the group of friends that surrounds them.

At its core, Lopez has woven an intoxicating tapestry of a show that demonstrates the problematic importance of legacy and community, especially for gay men today. We hear lots of stories. How these stories come together is the nature of ‘inheritance’. How do we learn how to be gay men? From each other? And what happens when that community of exchange breaks down? Drawing on the emotional devastation of the late-eighties/early-nineties AIDS crisis, Lopez suggests the trauma of one generation should be the next one’s inspiration.

Bob Crowley’s sparse design is gorgeously simple, and along with Stephen Daldry’s astute direction, exposes the theatricality of the endeavour, whilst giving the cast plenty of space to play. The often cumbersome narrative elements to the play are expertly handled by the cast and director, who places his actors almost constantly on stage, listening, commenting and waiting for their turn. The need to flip on a dime from exposition to ‘scene’ is wittily and effectively handled by the cast at large. Burnap is mesmerising in his performance as Toby Darling, larger than life, hilarious, yet always hinting at a dark past, the reveal of which the audience really has a long wait for. Kyle Soller is equally courageous in his performance, able to be sentimental without parody and believably naïve all the way through to the end. Andrew Burnap and Syrus Lowe stand out in a tight, generous and incredible ensemble.

‘The Inheritance’ is essential viewing for everyone. Seeing a play on the West End that so unashamedly and honestly tackles gay male relationships (sexual and otherwise) feels in itself a remarkable achievement. I would argue Lopez could have trimmed down this story by a few hours and we wouldn’t have minded, but this emotionally stirring and inspirational production is well worth getting cramp for.


Reviewed by Joseph Prestwich

Production photography by Marc Brenner

Cast image below by Johan Persson

The Inheritance

 Noël Coward Theatre until 19th January


Previously reviewed at this venue:
Quiz | ★★★★ | April 2018
The Lieutenant of Inishmore | ★★★★ | July 2018


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