★★★★

“The performance is measured and endearing, with great comedic beats”

Wet Feet tells the story of two gay men meeting in a sauna. Nathan (Matthew Edgar), mid-twenties sex worker chats to Franko (Michael Neri), a mid-thirties man with OCD. Over the course of their weekly visits, the pair bond and talk. The play is a series of conversations that touch on a number of topics from Cher to hate crimes, all relatable to an LGBTQ audience. The piece is witty and emotional as the characters explore this unusual relationship, with some steamy flirting throughout. The premise and structure is simple, but earnestly told. The heart of the story beating through Edgar and Neri’s tender performances.

The scenes are intercut with abstract transitions, still images of longing and contemplation separate the visits with cool lighting and accompanying music. The set is a stark clinical space, with a foam mattress on a bed with lino flooring and white walls (Reuben Speed). Some scenes end abruptly whilst others fade away with music as the scenes progress. Directed by Dominic Rouse, the action and movement of the scenes flow organically as the characters grow in familiarity and become more intimate.

Written by Neri, the dialogue is rich with references but also speaks to a generational attitude change between those who lived with section 28 and the AIDS crisis versus the newer generation who grew up with access to Grindr and pornography. The play also challenges assumptions, Nathan did not have it ‘easy’ and Franko struggles to admit he is gay. The piece feels authentic to queer people’s modern conversations whilst also being dramatic and funny. There’s a healthy number of dirty puns to pepper the touching conversations. Whilst some of the issues have been discussed in other plays, the show is a fresh look at these stories and issues that still effect gay people today.

Matthew Edgar’s performance as Nathan is confident and calm, seemingly secure in his sexuality and connected to his identity, with a bit of naivete. Michael Neri’s Franko is a ball of nerves held together by musical theatre and sanitiser wipes. From there we see the depth of these character’s grow; Franko’s ‘germaphobia’ being a clear comparison to the anxiety experienced during the AIDS crisis as well as his feelings of lack of control in his adolescence. Nathan’s more nonchalant attitude hiding deeper feelings of abandonment. The performance is measured and endearing, with great comedic beats. The merging of emotional and physical intimacy is portrayed with care and exactness, with no over exposure and remaining poignant (intimacy by Rose Ryan) if not also causing a few gasps of excitement from the audience (as they should).

For a piece that celebrates and contemplates queerness in 2024, Wet Feet is a charming original piece to see this Pride Month.

THE ESSENCE OF AUDREY at the Union Theatre

★★★★

“Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice”

Truman Capote said that ‘Breakfast at Tiffany’s’ was the “most miscast film I have ever seen” when he felt he was double crossed by Paramount when they cast Audrey Hepburn rather than Marilyn Monroe in the role of Holly Golightly. Despite it being a defining moment in Hepburn’s career, many critics sided with Capote, deciding that she embodied the ’essence of Audrey’ rather than that of Golightly. A simplistic slur perhaps. For what was that essence? Hepburn was a complicated soul; her acting career just one layer of a personality that many have tried to peel back to find the heart. When the image is strong, the essence is often out of sight.

Helen Anker, in her one woman show – “The Essence of Audrey” – goes some way towards finding the heart. She introduces us to Hepburn at the stage in her life when her humanitarian work is taking precedence over everything else. We are probably somewhere in the late seventies or early eighties. Her formidable acting career is largely behind her, and she is hosting a private auction of her film memorabilia at her Swiss home, to which we – the audience – are invited. The guest of honour cannot attend, however, so while a replacement is found, Audrey is left alone to while away the time, and entertain us with anecdotes and memories.

A lace covering is draped over the piano in the corner, while an acoustic guitar sits centre stage. Old packing cases are piled up, teasing us with the promise of reminiscences to be revealed. And, of course, a mannequin wearing ‘that’ dress. Hepburn herself is dressed casually. Sensibly and comfortable, yet Anker instantly evokes the discomfort that lies beneath. Nervous and humble, she captures the self-deprecation of a movie star who once confessed that “by all laws of logic, should never have made it”.

“There are many wonderful flavours, but not quite that secret ingredient we were expecting.”

There is a touch of genuine nervousness in Anker’s performance, as though the task has been thrust upon her a little too soon. But it is soon swept aside as she warms to the themes and wins us over with her charm and charisma. Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice. Ninety minutes is a long time to maintain her idiosyncratic accent, but Anker is spot on with the blend of refined elegance that sounds British with a continental edge; mixed with a touch of transatlantic exoticism.

It is Anker’s performance that carries the show. She struggles occasionally under the weight of the material, which is unquestionably fact-heavy and a little light on imagination and poetic licence. Often resembling a compendium, it never strays too far from common knowledge, with the bulk of the show focusing on the movies and marriages. There are glimpses of the darker side; the aristocratic yet troubled childhood, her contribution to the Dutch resistance during WWII; her father’s estrangement and imprisonment as an enemy of the state, the loss of the family fortune. But too soon we are led back to the familiar. It must be said, however, that Anker dresses the open secrets alluringly – befitting of the enigma that is Audrey.

Most people, when they picture Audrey Hepburn, call to mind the black, sleeveless sheath dress, large tortoiseshell sunglasses, and the Tiffany necklace of strands of pearls. It is, of course, one of the most potent fashion moments in movie history. But Hepburn would have been the first to debunk the myth, and Anker reinforces it by delving behind her mesmeric eyes. She shows us the modesty, the fact that Hepburn spent most of her life doing things she wasn’t prepared for, then tried like mad just to cope.

There is a lot crammed into the show, and we are given many gentle reminders of the reluctant icon. There are many wonderful flavours, but not quite that secret ingredient we were expecting. The “Essence of Audrey” might still elude us, but the spirit is very much alive in Helen Anker’s sympathetic performance.

Tag Archives: Union Theatre

WET FEET

★★★★

Union Theatre

WET FEET at the Union Theatre

★★★★

“The performance is measured and endearing, with great comedic beats”

WET FEET at the Union Theatre

Reviewed on 20th June 2024

by Jessica Potts

Photography by Matthew Coulton

Previously reviewed at this venue:

THE ESSENCE OF AUDREY | ★★★★ | February 2024

GHOST ON A WIRE | ★★★ | September 2022

WET FEET

WET FEET

Click here to see our Recommended Shows page

THE ESSENCE OF AUDREY

★★★★

Union Theatre

THE ESSENCE OF AUDREY at the Union Theatre

★★★★

“Anker pitches the tone just right, aided by a notable physical resemblance to Hepburn, and moreover by the voice”

“There are many wonderful flavours, but not quite that secret ingredient we were expecting.”