Simone Murphy Archives - thespyinthestalls.com

★★½

“There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness.”

Spymonkey set out to update Aristophanes’ three-thousand-year-old play – historically, the first staged comedy and use of a comedic double act – and make it relevant to today. They have poignant reasons to do so and these are reflected in a sub-plot that runs parallel to the original. The new version is written by Karl Grose and Spymonkey “with massive apologies to Aristophanes” and is directed by Joyce Henderson.

The stage is set with an array of boxes and crates and paraphernalia. A revolve is set off-centre which is used primarily for comedic effect. A circular mirror is suspended from above, upon which an impressive moon image is occasionally projected (Lucy Bradridge, set & costume designer).

Spymonkey regulars Toby Park and Aitor Basauri are semi-god Dionysus (sporting a fine pair of Cothornos platform sandals – a nice touch) and servant Xanthias who undergo a trip to the Underworld to recover the poet Euripides. To help them on their way, they receive advice from hero Heracles (Jacoba Williams in a fetching muscled body suit with male accoutrements). So far so good, but then our heroes fall into “a scene between the scenes” and find themselves squeezed into a cupboard – the Spymonkey office – and from now on as they continue their interminable journey they slip in and out of their Greek characters and into a character-version of themselves. Jacoba takes on a variety of tentacled, flippered and multi-headed creatures for the heroes to overcome whilst doubling in the here-and-now as an American theatre impresario interested in producing the new show. The whole thing is very meta. But it’s also rather a mess.

Of course, there are laughs a plenty. Aitor is an exceptional clown and, as the Spymonkey dynamic duo establish themselves, he proves himself an able Lou Costello to Toby’s Bud Abbott. But there is too much: the running gag of Aitor’s ass (hee-haw), knowing winks to the audience, asides, adlibs. There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness. Jacoba tells us that the whole thing is as mad as a box of… well, you know… just as the plot dissolves into a psychedelic acid trip.

Spymonkey themselves mock the length and tedium of Aristophanes’ original monologues and character-Aitor tells us several times that he doesn’t like the ending of the play because it isn’t funny. It’s not a good omen for the second half.

Worthy of mention is the community chorus – the highlight of the show – who techno-tap-dance across the stage in fluorescent yellow cagoules as the frog chorus (Simone Murphy, choreographer). It’s a shame that this happens only the once but then Aristophanes set the precedent for that. Ribbit.

Happily Ever Poofter

King’s Head Theatre

Reviewed – 23rd January 2020

★★★★

“Loud, brash and camp as hell, but not without a sprinkling of heart, tenderness and passion”

January is a dreary old month. The frivolities of Christmas and New Year are a long distant memory. The cold and drizzly rain is disheartening. The short wintry days are a-dragging. But Happily Ever Poofter is here to put some sparkle, sass and serious fierceness into your life. Panto season may just be over, but this foul-mouthed, fairytale/Disney mash up is a delightfully dirty alternative.

Prince Henry comes from a magical kingdom Far Far Away. His main job is to find true love with a beautiful princess, get married, blah, blah, blah, we know the rest. But something the kingdom doesn’t know, is that their handsome prince is in fact… gay (gasp!). Henry is miserable keeping his secret locked in tight, he hates that there’s no one like him around. He wants to go somewhere he can fit in. With the help of his Fairy Godfather, his wish is granted and finds himself transported to the mystical ‘gay scene’. With men after men, parties galore, and the odd “sniff, puff, drink,” Henry seems to be living his gay dream. But not all is what it seems. Finding a happy ever after still proves difficult, and so, Henry’s quest for true love becomes an even tougher challenge, but he’s determined to find answers.

Rich Watkins is highly enjoyable to watch in this one-man show. He makes audience participation a comfortable and somewhat pleasurable experience, even when he’s giving a certain audience member shade. Rich makes the budget set and props a running gag, with his visible costume/character changes hammed up for what it is. He is highly energetic, taking command of the small space. Sweat is literally dripping off of Rich by the end as he vogues and struts around in his thigh-high PVC boots.

With a catalogue of reworked Disney songs, interspersing the performance, this is where a lot of the comedy gold lies. Rich has cleverly rewritten the classic cartoon songs to fit this story, some racier than others. Particular stand outs include Someday My Prince Will Cum, and High Ho(e).

A pleasant surprise is the more serious message the last quarter of the show focuses on, giving the performance a deeper, more layered subtext. Rich quite rightly points out that Disney is still yet to include an openly homosexual character or gay love story in any of their films, proving there is still some glass ceilings (or slippers) yet to smash with making LGBTQ+ a fully normalised and accepted part of society.

Loud, brash and camp as hell, but not without a sprinkling of heart, tenderness and passion. Happily Ever Poofter proves it has more to say than just boys, bars and bondage. And so, remember the Fairy Godfather’s words: we do believe in fairies.

THE FROGS at the Royal and Derngate Theatre

★★½

“There’s some good and not-so-good slapstick, physical theatre and an all-round quirkiness.”

THE FROGS at the Royal and Derngate Theatre

Reviewed on 24th January 2024

by Phillip Money

Photography by Manuel Harlan

Previously reviewed at this venue:

THE FROGS

THE FROGS

King’s Head Theatre

Reviewed – 23rd January 2020

★★★★

“Loud, brash and camp as hell, but not without a sprinkling of heart, tenderness and passion”

With a catalogue of reworked Disney songs, interspersing the performance, this is where a lot of the comedy gold lies. Rich has cleverly rewritten the classic cartoon songs to fit this story, some racier than others. Particular stand outs include Someday My Prince Will Cum, and High Ho(e).

Loud, brash and camp as hell, but not without a sprinkling of heart, tenderness and passion. Happily Ever Poofter proves it has more to say than just boys, bars and bondage. And so, remember the Fairy Godfather’s words: we do believe in fairies.

Reviewed by Phoebe Cole

Happily Ever Poofter

King’s Head Theatre until 8th February

Last ten shows reviewed at this venue: